In this issue of Parkett, Jan Verwoert describes Tomma Abt's
abstractions as "defined by a kind of retroactive temporal logic: the
movement that leads to the finished picture is a movement that keeps
flowing back on itself in the process of overpainting." Julien Fronsacq
calls Mai-Thu Perret's work "a product of a different persona" and
suggests that it revolves "around the structure of the novel." According
to Johanna Burton, Zoe Leonard uses the predominantly male photographic
lineage to "speak in tongues," and to play with expectations--even as
she expresses the metaphysical loneliness inherent to the medium: "There
is no such thing as a truly entwined gaze," writes Burton, "only ever
the promise of one and the deep breach that results from its
impossibility." Also: Philipp Kaiser on Richard Hawkins, Josef Strau on
Ei Arakawa, Charles Bernstein on art criticism, texts by Philip Ursprung
and Jens Hoffmann, insert by John Stezaker and spine by Paulina Olowska.