Gregor Peschko
Gregor Peschko

ALLES GUT
Galerie für Zeitgenösssche Kunst Leipzig
March 2018 - February 2019

intervention & publication (280 pages, 16.5 x 23cm, 16,50€)

The exhibition „Pass-Stücke“ at the GFZK (Galerie für Zeitgenössische Kunst, Leipzig) presents the collection of all artists`editions of the art critics magazine TEXTE ZUR KUNST. For the displayed objects, which represent a specific canon of the last 25 years,  „ALLES GUT“ works as an accompanying text within the exhibition.

Like the original TEXTE ZUR KUNST magazines, the publication „ALLES GUT“ starts with an index and a preface. The main part then shows 250 screenshots taken at the webarchive of the currently 250 artist editions of TEXTE ZUR KUNST. Highlighted passages in the photographed texts can be followed as a continuous text throughout the book, which is also shown as a continuous text in the preface. Through the deconstruction of the descriptions of the objects in the canon a self-referencial text piece is formed, which appropriates the language of mediation and critique, and uses its label as material. A post-production „between affirmative desire and critical distance“, which could be understood as both inscription and break-up of the canonizing label of TEXTE ZUR KUNST.

ALLES GUT
Galerie für Zeitgenösssche Kunst Leipzig
March 2018 - February 2019

intervention & publication (280 pages, 16.5 x 23cm, 16,50€)

The exhibition „Pass-Stücke“ at the GFZK (Galerie für Zeitgenössische Kunst, Leipzig) presents the collection of all artists`editions of the art critics magazine TEXTE ZUR KUNST. For the displayed objects, which represent a specific canon of the last 25 years,  „ALLES GUT“ works as an accompanying text within the exhibition.

Like the original TEXTE ZUR KUNST magazines, the publication „ALLES GUT“ starts with an index and a preface. The main part then shows 250 screenshots taken at the webarchive of the currently 250 artist editions of TEXTE ZUR KUNST. Highlighted passages in the photographed texts can be followed as a continuous text throughout the book, which is also shown as a continuous text in the preface. Through the deconstruction of the descriptions of the objects in the canon a self-referencial text piece is formed, which appropriates the language of mediation and critique, and uses its label as material. A post-production „between affirmative desire and critical distance“, which could be understood as both inscription and break-up of the canonizing label of TEXTE ZUR KUNST.