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a large ›library and
a small ›museum on contemporary art

Parkett vol. 94

Cover Parkett 94,
Shirana Shahbazi

You are welcome to preview the upcoming 30 year anniversary issue and its artists editions at › Parkett’s Zurich space (Loewenbraeu) and at Art Basel (Hall 1.0 Z16, new location).

Vol. 94:
Tauba Auerbach
Cyprien Gaillard
Ragnar Kjartansson
Shirana Shahbazi
+ Urs Fischer

With a special twelve page INSERT by Charles Atlas and two conversations on performance.
For more details see › www.parkettart.com

Cyprien Gaillard for Parkett 94

Cyprien Gaillard for Parkett 94


An Urgent Message About the Great Organ, 2014
Aluminum sculpture with 7-color silkscreen print

A poet of ruins, Cyprien Gaillard here focuses on salvage and salvation in a sculpture that makes the ephemeral permanent.

Cyprien Gaillard


Cyprien Gaillard portrays the ecstasy of decay and demolition, both architectural and social. In their analyses of his work, Tom McDonough looks at the history of imploding buildings, while Bridget Alsdorf reflects on human self-destruction, and sci-fi novelist Mark von Schlegell imagines a parallel dystopian world.

“Architecture in the work of Cyprien Gaillard generally appears only in its undoing, in its collapse. His videos, photographs, and sculptures constitute a veritable catalogue of implosions and their aftermaths.” – Tom McDonough, Parkett 94
› Parkett vol. 94

Ragnar Kjartansson for Parkett 94
Ragnar Kjartansson for Parkett 94


Theaterstück / Theater Piece, 2014

Colors (hand-painted) on plywood, each unique

Ragnar Kjartansson’s stage sets combine painting and performance, as in this range of snow-capped mountains.

Ragnar Kjartansson


Ragnar Kjartansson plays with repetition and duration in a variety of media. Drew Daniel examines “the quality of quantity” in his musical performances, Markús Þór Andrésson probes the optimistic melancholy of his theatrical works, and Kitty Scott describes the performativity of his painting process.

“Kjartansson presents a paradox: Precisely because the act of painting is for him a performance, he claims, the final object is more ‘honest.’” —Kitty Scott, Parkett 94
› Parkett vol. 94

Tauba Auerbach for Parkett 94

Tauba Auerbach for Parkett 94


Hour Glass, 2014

Glass, mixed media

In Tauba Auerbach’s twenty-four-sided Hour Glass, time is manifested in physical form.

(The image above is a digital rendering of the work in progress. The final work will be on view online when completed)

Tauba Auerbach


Tauba Auerbach’s stunning paintings and sculptures illustrate mathematical theory with technical precision. In this issue, Joanna Fiduccia considers the artist’s three-dimensional work, David Reinfurt studies her font designs, and mathematician Byron Cook explains the logical principles that underlie her entire practice.

“For all their seductive beauty, Auerbach’s sculptures, objects, and books challenge our way of thinking.” —Joanna Fiduccia, Parkett 94
› Parkett vol. 94

Shirana Shahbazi for Parkett 94

Shirana Shahbazi for Parkett 94


Composition with Mountain, 2014
6-color lithograph on gelatin silver baryta print.

Shirana Shahbazi blends traditionally distinct categories, depicting a rocky landscape viewed through a prism of colors.

Shirana Shahbazi


Shirana Shahbazi’s photographs explore the divisions among genres such as landscape and still life, portraiture and abstraction. Tirdad Zolghadr observes the “figurative pull of abstraction” in her images, which lead Lukas Bärfuss through a chain of personal associations, while Jörg Heiser reviews the artist’s compositional display strategies.

“Words never come easy to abstraction, and the juxtaposition of Shahbazi’s older and newer images makes the older ones look verbose by comparison … The later work, by contrast, makes no effort to be forthcoming. Never explain, never complain.”
– Tirdad Zolghadr, Parkett 94
› Parkett vol. 94

Urs Fischer for Parkett 94

Urs Fischer, 30 Year Anniversary Edition for Parkett 94

Sitzende, 2014

From a group of three sculptures, cast plaster, fiberglass-reinforced (image shows work in progress).

For his special edition Urs Fischer made a series of three painted sculptures inspired by fashion photography, depicting a model in alternate poses and varying degrees of undress.

Urs Fischer


Over the course of his prolific career, Urs Fischer has created a continuous stream of iconic images. A studio visit with the artist leads Nicholas Cullinan to ruminate on how Fischer undermines notions of medium-specificity and signature style.

“Fischer’s work … seems to be more concerned with a superabundance of ideas and objects that allows the collaborative, the convivial, the ludic, and the downright messy.” —Nicholas Cullinan, Parkett 94
› Parkett vol. 94


Anna Terese De Keersmaeker

Also in this issue:


US senior editor Nikki Columbus moderates two conversations on performance. For “Performance Record,” Performa founder RoseLee Goldberg talks with Parkett’s editor-in-chief Bice Curiger and editor Jacqueline Burckhardt about how the medium has changed over the past thirty years. In “Attention Must Be Paid For,” writer-director Annie Dorsen, artist Ryan McNamara, and choreographer Mårten Spångberg reflect on how new media has transformed spectatorship. The Insert is designed by legendary video artist Charles Atlas.

For more details on Parkett, its artists’ editions, subscriptions, and back issues, and to connect on facebook please visit
› www.parkettart.com

logo Parkettart

a large ›library and
a small ›museum on contemporary art

Published bi-annually in Parkett’s book-bound signature design, each volume features four artists’ collaborations and some fifteen essays and texts, with numerous color illustrations on 250 pages. Each artist also contributes a work especially made for Parkett as a signed and limited edition. In addition to these artists’ collaborations, Parkett features various contributions on contemporary art within a series of playful sections such as Cumulus, Insert, or Les Infos du Paradis.

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