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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.
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