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ABOUT THIS ISSUE

23 Skidoo, A Prior’s last issue in the current series of the publication, is in many ways different from all A Prior has published before. The issue is largely inspired by the personality and the oeuvre of Tino Sehgal, an artist we closely followed for more then a year. These Associations (Turbine Hall, Tate Modern) and This Variation (dOCUMENTA (13)) are keyworks within the context of this issue. They lead the editors towards the theme of storytelling, using dOCUMENTA (13) as a case study. While working on this issue we also rediscovered and introduced satire, a genre that is highly absent in the world of contemporary art.
23 Skidoo also introduces the work of Anne Daems and Kenneth Andrew Mroczek who made the frontcover of this issue. Focusing on what happens when nothing happens, Anne Daems and Kenneth Andrew Mroczek travelled along the Thames in the Spring of 2012. They passed idealized images of English life; they saw the river as a source of day-dreams of Englishness and like Joseph Conrad in the 19th century they also discovered the dark side of this fascinating river.
Today, along the bankside of the Thames stands Tate Modern, based in the former Bankside Power Station. These Associations, made by Tino Sehgal for the Turbine Hall addresses the industrialisation that finds its origins in this river. Participants humm and whisper - almost chant - words like ‘electricity’ or ‘evolution’. With the conversations they have with visitors, they try to reconnect our souls.

From the editorial:

23 skidoo
Strange enterprise, pitched between “the most important exhibition to date of the 21st century” and the symptomatic status of a ubiquitous escape artist, the pieces that twist through A Prior Magazine 23 constitute a kind of diptych, or a flight of Schroeder stairs. To be sure, each subject concentrated different problems. By promoting a global account of recent contemporary art production, dOCUMENTA (13) proposes itself as a plausible global accounting body, and still more radically, says this operation is important and necessary. Why?
Like all sublime contemporary phenomenon, d13 demands to be assessed on its own terms, according to criteria that it transmits; it begs the questions. Equally, like in some kind of interminable virtual life game, because he implicates the visitor as a spectator of themselves, rather than giving them a space to see from, Tino Sehgal slips through the fingers of conventional practices. There is, in a way, nothing to say about him; there are no elements to deconstruct, recurring metaphors or specimens to analyze, just a kind of radiant extension of impersonalizing agency.



Publisher: vzw Mark (A Prior Magazine), School of Arts, Ghent
Editors #23: Daniel Miller, Bitsy Knox, Els Roelandt
Contributors: John Menick, Krist Gruijthuijsen, Vivian Sky Rehberg, Dieter Lesage, Messieurs Delmotte, Joe Scanlan, Nav Haq, David Senior, Dora Garcia, Nat Muller, Mai Abu Eldahab, Karin Hanssen, Susanne Kriemann, Renske Janssen, Dieter Roelstraete, Martin Zet, Ahmet Ögüt, Sven Augustijnen, P. Pan, Sebastian Cicocki, Younes Bouadi, Robert Kluijver, Tom from Berlin, Boy Vereecken, Marcos Luyten, Nina Möntmann, Joanna Warsza, Julia Mensink, Philippe Pirotte, Mascha Kuchejda, Kenneth Andrew Mroczek, Anne Daems, Christine Borch, Camilla Wills, Virginie Bobin, Andros Zins Brown, Alexander Provan, Michael Baers, and Renzo Martens.

A Prior Magazine #23 was made possible with the support of The School of Arts, Ghent,
the advertisers, The Ministry of the Flemish Community, the City of Ghent and Vlaams Nederlands Huis deBuren