The artists introduced here by our guest editor Maren Lübbke-Tidow are connected by the radicality of their thought and action, as well as by the way in which they subvert and overcome visual conventions. The flickering visual appearances of their image worlds refer to specific aesthetic experiences and aesthetic knowledge. Everyday contemporary cultural surface aesthetics are just as much a critical and seductive point of reference for them as the discourses on purity and canonised art scholarship. They explore new forms of permeability, persevere in zones of transition, and with gestures ranging from provocative and extreme to camp, they sensitise the viewer to other, hybrid contexts of perception. The artists introduced here are connected by the radicality of their thought and action, as well as by the way in which they subvert and overcome visual conventions. Annette Frick comes from the punk movement. As an artist with a feminist agenda, she focuses mainly on the portrait form. In a photographic project that has been working stubbornly against the establishment for a good twenty years, she has accompanied a group of people living in Berlin in niches outside of heteronormative orders who have attained an understanding of self with flamboyance, decadence, glamour, and carnivalesque travesty despite or precisely because of all the historical and present-day critical factors standing in the way of their definitions of self. Anette Kubitza spoke to the artist about her work. Indeed, her interest is far more radical: she separates queerness from the body entirely, and in doing so, succeeds in addressing the political agendas of queer theory in an entirely new way. Gabriele Schor talks to Stefanie Seibold about her work. Ken Okiishi explores the hybridity of the digital surfaces dominating our Internet-based everyday life. An approach to his work initially takes place through the image as a posited aesthetic appearance; delving into the deeper layers of his screens brings about a demystification of canonised knowledge. Kirsty Bell spoke to the artist about whether or not his mannered works can also be understood as melancholic or camp gestures directed at the art establishment. Over the past several decades, more than most, her work was and continues to be ever-present as a constant and productively unsettling undercurrent. The School for Artistic Photography in Vienna, founded by artist Friedl Kubelka, has been in existence for over twenty-five years: more than enough occasion to dedicate the Forum to this school. Its director, the artist Anja Manfredi, has selected six young artists. AF Popular culture has always aligned itself toward thematic areas that art has already laid claim to, and pulled parts of this out of context. Thankfully, though, the world of fashion and advertising moves on quickly. When the wave has passed, you can often more clearly see the content or context of an image that seems superficially similar—see what only has meaning temporarily, and what will endure. This goes for drag kings every bit as much Gay Grandpa Live Cam for drag queens and all transgender people. They turned with renewed vehemence to representations of the female body, not shying away from pornographic explicitness and brutal realism, while challenging social taboos, hetero-normativity, and gender stereotypes. The act of standing up when urinating as a woman has caused outrage, and your images have evoked criticism and censorship when they were shown in the lobby of the Bayer corporation in Cologne in In the mids, a lot of women got fed up. Basically, there have always been women that Gay Grandpa Live Cam expressed themselves in new radical images and forms. But they were considered a threat and taken out of circulation through censorship or ignorance. We all learned about Marinetti, Boccioni, and Severini in art class. This always makes it difficult to carry on advocating for a work in any cohesive way. What I find Gay Grandpa Live Cam is that Genzken has always demanded and produced a type of world relevance: in an interpretation of the relevant. I think one of the other things that led to this change in reception was that many more young artists work similarly to Isa Genzken today. This aspect of simultaneity comes from the digital world, with the difference that Genzken anticipated it very early on, in the type of composition she used. Apart from this, however, I deliberately leave out the body. When you affirm a queer form of expression via bodies, you run the risk of creating new modes of exclusion. It also operates through signs. But you also made installations that you positioned collages next to, and these contained bodies. They only exist in this in-between state. That was my point of departure with the form. But he was also a Japanese American at the time of WWII, when all of these things were happening. This became one of his favourite movies.
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