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Wake Up Call

  • Author: Hamza Walker / Hamza Walker
  • Artist: Jennifer Allora
  • Section: Collaboration


  • Author: Patricia Falguières / Patricia Falguières
  • Artist: Allora & Calzadilla
  • Section: Collaboration

Are There possibilities To Unify Dispersed Fragments In A Coherent Narrative Fra…

  • Author: Philippe Parreno
  • Artist: Dominique Gonzalez-Foerster
  • Section: Collaboration

Enchanting Emptiness

  • Author: Daniel Birnbaum
  • Artist: Dominique Gonzalez-Foerster
  • Section: Collaboration

Space Escondido

  • Author: Pamela Echeverría
  • Artist: Dominique Gonzalez-Foerster
  • Section: Collaboration

In the Center of the Infinite

  • Author: Douglas Fogle
  • Artist: Mark Grotjahn
  • Section: Collaboration

Splitting Impacts the Eye

  • Author: Hans Rudolf Reust
  • Artist: Mark Grotjahn
  • Section: Collaboration

Within Blue

  • Author: Gary Garrels
  • Artist: Mark Grotjahn
  • Section: Collaboration

Magie. Art et Politique. On the Nowtime of a Book by Marcel Broodthaers Publishe…

  • Author: Wilfried Dickhoff
  • Artist: Marcel Broodthaers
  • Section: Miscellaneous / Varia

The Sediment of History. An Interview with Allora and Calzadilla

  • Author: Jaleh Mansoor / Yates Mc Kee / Yates Mc Kee / Jaleh Mansoor
  • Artist: Guillermo Calzadilla
  • Section: Miscellaneous / Varia

Joanne Greenbaum: Infant Paradise

  • Author: Lyle Rexer
  • Artist: Joanne Greenbaum
  • Section: Miscellaneous / Varia

Ian Kiaer. Landscape and Model

  • Author: Christian Rattemeyer
  • Artist: Ian Kiaer
  • Section: Miscellaneous / Varia

The Other Side of the Gates of Hell

  • Author: Sascha Renner
  • Artist: Auguste Rodin
  • Section: Les Infos du Paradis

Whitewashing the Past: The Restoration of Memory

  • Author: Jan T. Gross / Jack Sal
  • Artist: Jack Sal
  • Section: Balkon

Puzzling Out Detroit

  • Author: Lynn Crawford
  • Section: Cumulus

The Romanians in Cabaret Voltaire

  • Author: Adrian Notz
  • Section: Cumulus

The Prolific Pleasures of Paradox

  • Author: Bice Curiger
  • Artist: Dominique Gonzalez-Foerster
  • Section: Editorial

$ 32.00


Our collaboration artists in this volume, Jennifer Allora & Guillermo Calzadilla, Dominique Gonzalez-Foerster and Mark Grotjahn, all share the same unbridled desire to break out of art and its genres and into other mental, social and political realities, while paradoxically reinforcing and, indeed, fueling our faith in art. Confrontation with their works makes manifest the extent to which they call for a special response, a nonspecific but profoundly receptive, open-ended subtlety that is, nonetheless, solidly anchored in the experience of this world.

The editions they have created for Parkett could not be more redolent of this attitude. Allora & Calzadilla’s film, DEADLINE, zeroes in on a very small slice of reality. We see a palm frond dangling between two palm trees, a formal reduction that banks on the power of suggestion. Nothing eye-catching happens that might lend a different trajectory to the tension. Only the constantly changing shape of the frond spurs associations ranging from buoyancy and wanderlust to death and helplessness. We find ourselves engulfed in the entire emotional universe of the postcolonial mindset of the West that involves an “archetypal” guilty conscience and feelings of impending catastrophe. The sense of peace and affirmation that fills the frame is hard to take, the intensity of the message being heightened by the very fact that the palms do not stand in a museum like those of Marcel Broodthaers (Wilfried Dickhoff writes about his Magie. Art et Politique).

No one can effect the leap into the future with such verve as Dominique Gonzalez-Foerster. She has created an exquisitely silkscreened calendar for Parkett, with images and dates that weave a flying carpet of such oneiric energy that we are catapulted into spaces of enchanting emptiness that are “not nothing,” but actually filled with “tempting forms of nothingness,” as conjured by our writers Pamela Echeverría and Daniel Birnbaum.

Mark Grotjahn’s “abstract” painting also breaks loose: it is tranquility and takeoff, maelstrom and spell, ecstasy and composure. His surfaces contain unmistakable signs of several “double lives.” Take, for instance, the allusion to the artist’s poker-playing past in his edition for this issue. It symbolizes the dark side of culture. His card guards bring male fantasies into play but also those variations on poker that emphasize the fetish, the archaic gesture of singling out and taking possession of the cards by placing an object on them.

The insert has been designed in the same spirit. Through a physical act of destruction—several pages have been torn out of each copy by hand, one by one—Ryan Gander has invested the publication with metaphysical added value: the entire run of Parkett 80 consists of 10,000 originals. The choice of color in these pages refers to Le Corbusier, not as veiled indication of connoisseurship but as a sign of Gander’s cease.