#48 Summer 2016

The viral Internet is a rabbithole where the truth goes to die. Some of us want to be seen and others don’t. In this issue we feature a selection of contemporary archetypes, among them the refugee, the one-percenter, and the thief. Dean Kissick investigates the viral phenomenon of microcelebrity, Armen Avanessian wonders whether we are actually all sleepers. In the lead essay, Barbara Casavecchia explores artistic precedents for a culture of reduced visibility, secrets, silence. Nina Power writes about what it means to be a feminist today. Also: Hans-Jürgen Hafner on what it takes to "get" Arnulf Rainer's work, Suzanne Cotter talks to Tenzing Barshee about Trisha Donnelly, an interview with Nathalie Du Pasquier, and much more. It all stands under the aegis to Bertolt Brecht's advice: "Erase the Traces!" 

The End is Night
Matias Faldbakken writes a letter to the Australian bushranger Ned Kelly
from Bregenz, Zurich, Basel, Warsaw, London, New York, Lisbon, Vienna, Salzburg, Frankfurt
or The things we like: By Chus Martinez, Martin Heller, Adriana Lara, Felix Gaudlitz, and Verena Gillmeier
Is activism what must follow critique? Nick Axel visited the Venice Architecture Biennale and found an abundance of proposals for making the world a better place.
Lana del Rey and the limits of speech. A love poem by Jon Leon
In her films, the theorist Susan Sontag found a different vehicle for her cultural critique. By Sabeth Buchmann
Field Notes
Perhaps we are all sleepers, operating under cover in everyday life and awaiting our actually task. Armen Avanessian offered some impromptu reflections
Q/A Nina Power
What does it mean to be a feminist today?
Field Notes
David Simpson looks at the figure of the refugee through the long history of Western culture's encounters with strangers
Portrait Trisha Donnelly
Her work takes place across the wavelengths of materiality and context, inciting exchanges of meaning and energy between objects and situations. Tenzing Barshee talks to curator Suzanne Cotter
Portrait Arnulf Rainer
Influenced by Surrealist automatic writing, he developed his practice of obsessive overpainting, veering between aggression and therapy, destruction and correction. By Hans-Jürgen Hafner
Portrait Nathalie Du Pasquier
With the collective Memphis she defined in the 80s postmodernism in design. Then she started painting. Timo Feldhaus talked with the self-taught artist on her enormous oeuvre
from Marseille by Davide Stucchi
Microcelebrities are the heroes of our time. A conversation with Deanna Havas and Bunny Rogers helps get to grips with a phenomenon that is transforming the nature of fame. By Dean Kissick
Q/A Ariana Reines
Who will be our saviour?
Field Notes
Critic Bob Nickas imagines Manhattan as a museum, between real estate and history, between lifestyle and art
Images contributed by
Villa Design Group, Carissa Rodriguez, Christina Ramberg, Kaspar Müller, Pavel Büchler
Exhibition Histories
Marcel Broodthaers transformed himself from poet to artist in his first solo show "Moi aussi, je suis demandé ..." in 1964 at the Galerie Saint Laurent in Brussels. By Alexi Kukuljevic
One Work
Jay Sanders talks to Jill Kroesen about her first epic Stanley Oil and His Mother: A Systems Portrait of the Western World, which debuted at The Kitchen in 1977
Artist's Favourites
by Nina Beier