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As Objects of

  • Author: Barrett Watten
  • Artist: Rosemarie Trockel
  • Section: Collaboration

How Feminist Are Rosemarie Trockel’s Objects?

  • Author: Anne M. Wagner
  • Artist: Rosmarie Trockel
  • Section: Collaboration

Rosemarie Trockel: Provocation and Poetic Enigma

  • Author: Véronique Bacchetta
  • Artist: Rosmarie Trockel
  • Section: Collaboration

Cave Canem

  • Author: Jim Lewis
  • Artist: Christopher Wool
  • Section: Collaboration

Here Is Something You Can’t Understand

  • Author: Diedrich Diederichsen
  • Artist: Christopher Wool
  • Section: Collaboration

In the Shadow of Painting

  • Author: Jeff Perrone
  • Artist: Christopher Wool
  • Section: Collaboration

Wool's Word Painting

  • Author: Marcus Greil
  • Artist: Christopher Wool
  • Section: Collaboration

Penis Plenty Phallic Lack: Exit Mister Punch

  • Author: Marina Warner
  • Artist: Susan Hiller
  • Section: Miscellaneous / Varia

A Poesy of Diagnostics or the Object-Neurology of Dennis Oppenheim

  • Author: G. Roger Denson
  • Artist: Dennis Oppenheim
  • Section: Miscellaneous / Varia

The Crooked Path. Patterns of Kinetic Energy

  • Author: Camiel van Winkel

Not Vital: Common Currency (Interview)

  • Author: Louise Neri
  • Artist: Not Vital
  • Section: Les Infos du Paradis


  • Author: David Levi Strauss

Am I Now Getting Sentimental?

  • Author: Chris Dercon
  • Section: Cumulus

Out of print


Three and a half years ago, we launched our first double collaboration with Martin Kippenberger and Jeff Koons, two younger artists—one from Europe one from America—who take entirely different approaches within their shared topos of ensuring that the art public’s supply of provocation does not run dry. Many double collaborations have followed since, each motivated by distinct and divergent considerations: enduring and urgent issues pertaining to the body led to the juxtapo¬sition of Louise Bourgeois and Robert Gober (No. 27); the observation that heightened sensibility toward the concrete epi¬dermis of a work can yield a trenchant regeneration of diverse views of abstraction inspired the collaboration of Günther Förg and Philip Taaffe (No. 26), and a concern with the anonymous image of wo/man gave rise to a comparison between Christian Boltanski and Jeff Wall (No. 22).

Not infrequently, extraordinary happenings occur in the process of preparing a double collaboration, points of contact and coincidence are found where least expected, or the artists themselves seek interpretative accord. Rosemarie Trockel and Christopher Wool have come together to create the austere yet playful dust jacket on the issue you are now holding—a unique event for Parkett. On second thought, the jacket may be a shirt, one of the white shirts that often appear in Trockel’s work, or the white background of the pictures Wool inhabits with hard signs. Trockel’s predilec¬tion for logos, trademarks, and symbols inspired her reference to the design of Bibliothek Suhrkamp books—the quintes¬sential and ubiquitous emblem of cultivation in German-speaking countries—and was to serve as a source for the registe¬red trademark transfiguration of Wool’s name Woolly arguments, however, have induced the international wool lobby to prohibit the use of their logo although, to the best of our knowledge, bookstores are not in the habit of selling sweaters.

The distinctly self-reflexive approach that marks this issue is manifest in the layout of Christopher Wool’s section, designed by the artist using photographs he took of his own paintings. We are proud to present this first extensive selection of Wool’s photographs, including the untitled edition showing a black dog created especially for the readers of Parkett to hound them with memories from his RUNDOGRUN Insert for Parkett No. 22. Self-reflexion informs Rosemarie Trockel’s Parkett edition STUDIO VISIT; the picture shows the view as seen by Trockel’s left eye echoing a drawing by Ernst Mach of 1870 (in Analysis of Feelings). As for the presence of her dog Fury, who has also visited our offices, we shall let sleeping dogs lie. Enough, the intensity of quiescent observation in ear and eye: in this issue, the gaze of the second of Sam Samore’s four “designs” for the spine of Parkett is eclipsed from view, along with our own identifying logo. As always, monographic essays and articles on other topics of general or current interest complement our collaboration ensemble. Renowned British writer, Marina Warner, addresses the changing image of gender balance in the arts, while Adrian Schiess has filled the pages of Insert with his dynamic concept of color flow.

And now, dear Reader, Parkett has decided to open its pages to contributions from you in a new rubric to be introduced in our next issue (No. 34). Garderobe will publish your classified ads—like those that appear in daily or weekly newspapers. This is indeed a bold enterprise that must be based on quality, patience, and the potential of geographic reach, all necessarily time-honored criteria of our quarterly publication. But then, where else would you be able to announce that you have sighted Martin Kippenberger’s canary?Bice Curiger