Presenting unique and in-depth collaborations and editions with leading contemporary artists, Parkett has been the foremost international journal on art for nearly two decades. Issue #64 features collaborations with temporary Olafur Eliasson (Denmark), Tom Friedman (United States), and Rodney Graham (Canada), three artists whose investigations of the seemingly mundane draw viewers into their imaginative musings on everyday life. Eliasson makes ambitious indoor and outdoor projects that incorporate ephemeral and elemental materials, and also documents these elements and their effects in his photographs. Friedman uses common everyday materials in his intensely-crafted sculptures and objects, imaginatively transforming fugitive materials into sly commentaries and investigations on the household object. Graham's videos, photographs, and audio works incorporate repetition and a Chaplin-esque deadpan humor as a means of commenting on and philosophizing about life and its many foibles. Contributing writers include Ina Blom and Jessica Morgan on Eliasson; Dan Cameron, John Waters, and Midori Matsui on Friedman; and Lynne Cooke and Matthew Hale on Graham. Also in this issue, novelist A.M. Homes interviews artist and photographer Chris Verene.
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Presenting unique and in-depth collaborations and editions with leading contemporary artists, Parkett has been the foremost international journal on contemporary art for nearly two decades. Issue No. 63 features collaborations with Tracey Emin, William Kentridge, and Gregor Schneider, three artists whose highly personal works affect viewers in an evocative manner, yet through strikingly different means. Emin bares her soul from the inside out, in her confessional multimedia photographs, drawings, videos, and installations. Kentridge's highly-charged films, drawings, sculptures, and theatrical productions analyze the history of his native South Africa and the implications and legacy of apartheid. And finally, Schneider's inside-out abodes turn the seemingly cozy and reassuring context of "home" into a haunting maze of opened and closed rooms, claustrophobic corridors and tunnels, and impenetrable windows and doors. Each of these artists draws us into their private worlds, diminishing the boundaries between artist and audience.
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