Parkett Vol. 50/51 - 1997 | John M Armleder, Jeff Koons, Jean-Luc Mylayne, Thomas Struth, Sue Williams

Browse Selected Texts and more on the Collaboration Artists

Artist Insert

Editorial

In Broad Daylight We have chosen to celebrate our fiftieth volume in the most natural of festive illuminations, in “broad daylight,” fully aware that these words are associated today with an undercurrent of disturbing implications. In earlier times the title would have evoked the staid illumination of the Enlightenment or the jubilant luminosity and brilliance of the Baroque. Such thoughts have led us to deviate from our custom of selecting and juxtaposing artists along potential mutual affinities. Instead the five collaboration artists in this double issue of Parkett stand for a variety of contrasting approaches, represented in works that each have a distinctive “lighting plot” of their own. Although Jean-Luc Mylayne has dedicated himself to the phenomena of nature and Thomas Struth to those of civilization, both artists make use of the art of photography to underscore the “stage presence” of light in their images. Mylayne is entirely open to the iridescent manifestations of daylight; Struth restlessly seeks to balance and neutralize the lux fluens of our civilization. The illumination in Sue Williams’s painted bedrooms is metaphorical; she fearlessly trains her mental floodlights on the spectacle of the flesh and exposes us, eyes wide open, to the ramifications of her mind. John Armleder has spent decades playfully purging all surplus mysticism from the musty shadow realms of art. His work has become brighter and more transparent as it reaches for the light. Jeff Koons’s group Celebration is indeed that: a celebration of high-gloss surfaces and their glistening reflexes. A hyper-realistic universe confronts us in Parkett 50/51 in specific proximity to—or distance from—the aura of representation in the Sun King’s century. On unfolding Toba Khedoori’s Insert—one of two in this double issue—we face row upon row of empty theater seats, alluding not only to the daytime appearance of the theater but also to the fact that the orchestra seats are called Parkett in German. The emptiness of these seats could be very disturbing, were it not for you, our loyal readers. It is our pleasure to take this opportunity to sing your praises, for we trust you will continue to fill the ranks in performance after performance, in volume after volume of Parkett.

Table of Content

The Mirrors of Narcissus at the Theatre by Michael Onfray

John M. Armleder
Images, Things and Participation by Giacinto di Pietrantonio
John Armleder At Any Speed, A Conversation with John M. Armleder, Spark Vett, Parker Williams, Sylvie Fleury
Whatever by Whomever by Lionel Bovier

Jeff Koons
Eternal Regress by Vic Muniz
Frankenstein in Paradise by Keith Seward
Puppy, the Sacred Heart of Jesus by Veit Loers
Euphoric Enthusiasm, Jeff Koon’s «Celebration» by Thyrza Nichols Goodeve

Jean-Luc Mylanye
Cosmologer by Lynne Cooke
For Jean-Luc Mylayne by Mark Dion
Image of a Gift by Didier Arnaudet
Two Text-Pieces by Jean-Luc Mylanye
Back to Back by Bice Curiger

Thomas Struth
Open Vision by James Lingwood
Photography as Tautegory by Kiyoshi Okutsu
Not Cold, Not Too Warm by Norman Bryson
Epiphany by Peter Schjeldahl

Sue Williams
Touched by Molly Nesbit
Sweet Williams by Adrian Dannatt
Domestic Horrors by Leslie Camhi

Tacity Dean, Insert
Taba Khedoori, Insert

More Allure Please, Sam Samore by Michelle Nicol

Assimilating the Unassimilable, Carolee Schneemann by Jay Murphy

Contract with a Coldhearted Muse by Mark van der Walle

Bilbao Song, Frank Gehry’s Guggenheim Museum in Cantabria, Les Infos du Paradis by Kurt W. Forster

Strip Fade Strike, Toward an Aesthetics of Disappearance, Cyborg Manifesto in a Black Times, Cumulus from America by Beth Coleman

Where Has All the Madness Gone? Cumulus from Europe by Daniel Birnbaum

Divide et impera by Juri Steiner