Parkett 96
Marc Camille Chaimowicz, Pamela Rosenkranz, John Waters, Xu Zhen, and more
For a preview of vol. 96 and the four new editions please visit Parkett’s Art Basel booth and the Parkett exhibition space at Zurich’s Löwenbräu.
For more info on books, subscriptions, artists’ editions, and to connect on Facebook, Instagram, and Twitter please visit www.parkettart.com
We welcome you to preview the new Parkett at Art Basel (hall 1, booth Z26), just next to the talks & conversations in the Art Unlimited hall. Volume 96 and the four new editions are also displayed at the Crush exhibition in Parkett’s Space at Zurich’s Löwenbräu.
Since the 1970s, Marc Camille Chaimowicz has created moody installations and performances influenced by glam rock and modernist décor. Here Kirsty Bell follows his moves between domestic and social space, as he blurs one with the other; Lucy McKenzie looks at appropriation, replication, and imitation in—and of—his work; and Michael Bracewell recalls the pop glamour and artifice found in his early scatter environments, often reconstructed today.
For his Parkett edition, Loxos, Marc Camille Chaimowicz returns to an early design to craft an elegant crystal vase.
“Intrinsic to an experience of the art of Chaimowicz is the sense of being invited into a new, imaginary world, a place of enchantment—seductive, enfolding, arresting.”
–Michael Bracewell
Pamela Rosenkranz‘s installation of boundless skin ripples through the Swiss pavilion at this year’s Venice Biennale, continuing her investigations into the materiality of identity. In this issue, Colby Chamberlain argues for her placement in the genealogy of nude painting; Nicolas Bourriaud analyzes her deconstruction of the human subject; and Ruba Katrib considers the permeability of the border between the natural and the synthetic.
For her Parkett edition, Pamela Rosenkranz has molded a Survivor knife out of the fleshy silicone that is her signature material.
“In Rosenkranz’s work, sex is not at all natural, and art is even less so.”
–Nicolas Bourriaud
John Waters‘s artwork—much like his films and books—serve as cultural criticism, commenting on contemporary art and the art world, as well as movies and the movie business. Jay Sanders surveys the astonishing 50-year career of an artist whose greatest work might well be himself; Christine Macel provides an alphabetical list of terms central to his oeuvre; and Bruce Hainley contributes a helpful audio guide to a few key works.
For his Parkett edition, Tragedy, John Waters offers the ultimate trophy for celebrity treasure hunters: the scalp of actress Jayne Mansfield, the blonde bombshell once known as the “working man’s Marilyn Monroe.”
“Waters’s photographs celebrate and contend with the inevitably subjective history of the cinematic image, the countless movie moments that pass in and out of our eyes.”
–Jay Sanders
Xu Zhen was already a well-known artist when, in 2009, he disappeared into MadeIn Company, reemerging four years later as a corporate brand. Philip Tinari converses with the man himself about the trajectory of his career and that of the greater Chinese art scene; Monika Szewczyk finds both resistance and transcendence in his work; and Philippe Pirotte examines the roles of performance and spectatorship.
For his Parkett edition, The Tribal Chief’s New Clothes, Xu Zhen imagines a clash of civilizations on Easter Island in the form of a plush memorial bust.
“MadeIn Company points to the notion of the nation as a corporation and leaves the position of art or culture ambiguous.”
–Monika Szewczyk
Also in this issue: Nuria Enguita Mayo reveals the “cosmic intimacy” at the heart of drawings and paintings by Anna Boghiguian, a constant traveler who portrays the society around her; and Julieta González provides an overview of Mexico City’s arts institutions. The INSERT is by Isabelle Cornaro.
Crush at Parkett’s exhibition space in Zurich:
Kilian Rüthemann presents Crush
Until July 4, 2015
Crush is a stunning presentation of selected Parkett Editions installed by Kilian Rüthemann in Parkett’s exhibition space at the Löwenbräu in Zurich. The artist has laid out over ten tons of turquoise-colored, crushed glass on the floor of the gallery. Within this Arctic landscape, he has erected columns of large glass chunks for the presentation of Parkett Editions, including the new works for vol. 96.
For more info and Crush exhibition pictures please see here.
For more info on books, subscriptions, artists’ editions, and to connect on Facebook, Instagram, and Twitter please visit www.parkettart.com.
