Interfunktionen No. 7 [Special edition]
Friedrich Wolfram Heubach [Ed.], Joseph Beuys, Michael Heizer, Peter Hutchinson, Dennis Oppenheim, Richard Long, Robert Smithson, Buckminster Fuller, Nam June Paik, Dan Graham, Lotar Baumgarten, Will Insley, Jürgen Kramer, Panamarenko
1971
Interfunktionen No. 7 [Special edition]
Interfunktionen No. 7 [Special edition]
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On the cover of Interfunktionen 7 (1971) is a famous photographic documentation of Joseph Beuys’s Celtic performance in Basel on April 5, 1971. Like many of his action works, Celtic combined ritualized movements, symbolic gestures, ...
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Interfunktionen No. 7 [Special edition]
Friedrich Wolfram Heubach, Joseph Beuys, Michael Heizer, Peter Hutchinson, Dennis Oppenheim, Richard Long, Robert Smithson, Buckminster Fuller, Nam June Paik, Dan Graham, Lotar Baumgarten, Will Insley, Jürgen Kramer, Panamarenko
1971
Cologne: Interfunktionen
96 pages
29.2 × 21 cm
Special edition of 60; numbered 44/60

On the cover of Interfunktionen 7 (1971) is a famous photographic documentation of Joseph Beuys’s Celtic performance in Basel on April 5, 1971. Like many of his action works, Celtic combined ritualized movements, symbolic gestures, and self-mythologizing props, including beeswax, a bottle of gelatin, and a tin watering can. The choice of this image for the cover is particularly interesting given the magazine’s recurrent interest in the shaman-artist’s potential to heal a traumatized postwar society.


 


Founded by the German psychologist Friedrich Wolfram Heubach and later edited by Benjamin H. D. Buchloh, Interfunktionen was an interdisciplinary art journal based in Cologne. Between 1968 and 1975, it published twelve issues, establishing itself as one of the most important European art magazines to emerge in the postwar period. It promoted new artistic ideas in opposition to the prevailing international conception of “art-as-commodity”.


 


This special issue of Interfunktionen 7 is punctuated by original photographic prints by Peter Hutchinson and Dan Graham, as well as a handwritten intervention in blue ink by Joseph Beuys. Otherwise, its content corresponds to that of the regular edition, bringing into focus works by Michael Heizer (listed as “Mike Heizer”), Dennis Oppenheim, Richard Long, Robert Smithson, Lothar Baumgarten, Will Insley, Jürgen Kramer, and Panamarenko, alongside those of Hutchinson, Graham, and Beuys. Halfway through the issue, three theoretical contributions appear: Buckminster Fuller’s “Pirated Script,” Nam June Paik’s “Expanded Education for the Paperless Society,” and Dan Graham’s “Homes for America.”


 


The psychologically driven approach developed by Friedrich Wolfram Heubach allowed Interfunktionen to move beyond the editorial approaches of other art magazines, focusing not only on action art, land art, Fluxus-adjacent practices, and conceptual art, but also on the mechanisms through which such works were received, including the mystique surrounding Joseph Beuys.

Cologne: Interfunktionen
96 pages
29.2 × 21 cm
Special edition of 60; numbered 44/60

On the cover of Interfunktionen 7 (1971) is a famous photographic documentation of Joseph Beuys’s Celtic performance in Basel on April 5, 1971. Like many of his action works, Celtic combined ritualized movements, symbolic gestures, and self-mythologizing props, including beeswax, a bottle of gelatin, and a tin watering can. The choice of this image for the cover is particularly interesting given the magazine’s recurrent interest in the shaman-artist’s potential to heal a traumatized postwar society.

 

Founded by the German psychologist Friedrich Wolfram Heubach and later edited by Benjamin H. D. Buchloh, Interfunktionen was an interdisciplinary art journal based in Cologne. Between 1968 and 1975, it published twelve issues, establishing itself as one of the most important European art magazines to emerge in the postwar period. It promoted new artistic ideas in opposition to the prevailing international conception of “art-as-commodity”.

 

This special issue of Interfunktionen 7 is punctuated by original photographic prints by Peter Hutchinson and Dan Graham, as well as a handwritten intervention in blue ink by Joseph Beuys. Otherwise, its content corresponds to that of the regular edition, bringing into focus works by Michael Heizer (listed as “Mike Heizer”), Dennis Oppenheim, Richard Long, Robert Smithson, Lothar Baumgarten, Will Insley, Jürgen Kramer, and Panamarenko, alongside those of Hutchinson, Graham, and Beuys. Halfway through the issue, three theoretical contributions appear: Buckminster Fuller’s “Pirated Script,” Nam June Paik’s “Expanded Education for the Paperless Society,” and Dan Graham’s “Homes for America.”

 

The psychologically driven approach developed by Friedrich Wolfram Heubach allowed Interfunktionen to move beyond the editorial approaches of other art magazines, focusing not only on action art, land art, Fluxus-adjacent practices, and conceptual art, but also on the mechanisms through which such works were received, including the mystique surrounding Joseph Beuys.

DESCRIPTION

On the cover of Interfunktionen 7 (1971) is a famous photographic documentation of Joseph Beuys’s Celtic performance in Basel on April 5, 1971. Like many of his action works, Celtic combined ritualized movements, symbolic gestures, and self-mythologizing props, including beeswax, a bottle of gelatin, and a tin watering can. The choice of this image for the cover is particularly interesting given the magazine’s recurrent interest in the shaman-artist’s potential to heal a traumatized postwar society.

 

Founded by the German psychologist Friedrich Wolfram Heubach and later edited by Benjamin H. D. Buchloh, Interfunktionen was an interdisciplinary art journal based in Cologne. Between 1968 and 1975, it published twelve issues, establishing itself as one of the most important European art magazines to emerge in the postwar period. It promoted new artistic ideas in opposition to the prevailing international conception of “art-as-commodity”.

 

This special issue of Interfunktionen 7 is punctuated by original photographic prints by Peter Hutchinson and Dan Graham, as well as a handwritten intervention in blue ink by Joseph Beuys. Otherwise, its content corresponds to that of the regular edition, bringing into focus works by Michael Heizer (listed as “Mike Heizer”), Dennis Oppenheim, Richard Long, Robert Smithson, Lothar Baumgarten, Will Insley, Jürgen Kramer, and Panamarenko, alongside those of Hutchinson, Graham, and Beuys. Halfway through the issue, three theoretical contributions appear: Buckminster Fuller’s “Pirated Script,” Nam June Paik’s “Expanded Education for the Paperless Society,” and Dan Graham’s “Homes for America.”

 

The psychologically driven approach developed by Friedrich Wolfram Heubach allowed Interfunktionen to move beyond the editorial approaches of other art magazines, focusing not only on action art, land art, Fluxus-adjacent practices, and conceptual art, but also on the mechanisms through which such works were received, including the mystique surrounding Joseph Beuys.

Cologne: Interfunktionen
96 pages
29.2 × 21 cm
Special edition of 60; numbered 44/60

On the cover of Interfunktionen 7 (1971) is a famous photographic documentation of Joseph Beuys’s Celtic performance in Basel on April 5, 1971. Like many of his action works, Celtic combined ritualized movements, symbolic gestures, and self-mythologizing props, including beeswax, a bottle of gelatin, and a tin watering can. The choice of this image for the cover is particularly interesting given the magazine’s recurrent interest in the shaman-artist’s potential to heal a traumatized postwar society.

 

Founded by the German psychologist Friedrich Wolfram Heubach and later edited by Benjamin H. D. Buchloh, Interfunktionen was an interdisciplinary art journal based in Cologne. Between 1968 and 1975, it published twelve issues, establishing itself as one of the most important European art magazines to emerge in the postwar period. It promoted new artistic ideas in opposition to the prevailing international conception of “art-as-commodity”.

 

This special issue of Interfunktionen 7 is punctuated by original photographic prints by Peter Hutchinson and Dan Graham, as well as a handwritten intervention in blue ink by Joseph Beuys. Otherwise, its content corresponds to that of the regular edition, bringing into focus works by Michael Heizer (listed as “Mike Heizer”), Dennis Oppenheim, Richard Long, Robert Smithson, Lothar Baumgarten, Will Insley, Jürgen Kramer, and Panamarenko, alongside those of Hutchinson, Graham, and Beuys. Halfway through the issue, three theoretical contributions appear: Buckminster Fuller’s “Pirated Script,” Nam June Paik’s “Expanded Education for the Paperless Society,” and Dan Graham’s “Homes for America.”

 

The psychologically driven approach developed by Friedrich Wolfram Heubach allowed Interfunktionen to move beyond the editorial approaches of other art magazines, focusing not only on action art, land art, Fluxus-adjacent practices, and conceptual art, but also on the mechanisms through which such works were received, including the mystique surrounding Joseph Beuys.

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On the cover of Interfunktionen 7 (1971) is a famous photographic documentation of Joseph Beuys’s Celtic performance in Basel on April 5, 1971. Like many of his action works, Celtic combined ritualized movements, symbolic gestures, and self-mythologizing props, including beeswax, a bottle of gelatin, and a tin watering can. The choice of this image for the cover is particularly interesting given the magazine’s recurrent interest in the shaman-artist’s potential to heal a traumatized postwar society.

 

Founded by the German psychologist Friedrich Wolfram Heubach and later edited by Benjamin H. D. Buchloh, Interfunktionen was an interdisciplinary art journal based in Cologne. Between 1968 and 1975, it published twelve issues, establishing itself as one of the most important European art magazines to emerge in the postwar period. It promoted new artistic ideas in opposition to the prevailing international conception of “art-as-commodity”.

 

This special issue of Interfunktionen 7 is punctuated by original photographic prints by Peter Hutchinson and Dan Graham, as well as a handwritten intervention in blue ink by Joseph Beuys. Otherwise, its content corresponds to that of the regular edition, bringing into focus works by Michael Heizer (listed as “Mike Heizer”), Dennis Oppenheim, Richard Long, Robert Smithson, Lothar Baumgarten, Will Insley, Jürgen Kramer, and Panamarenko, alongside those of Hutchinson, Graham, and Beuys. Halfway through the issue, three theoretical contributions appear: Buckminster Fuller’s “Pirated Script,” Nam June Paik’s “Expanded Education for the Paperless Society,” and Dan Graham’s “Homes for America.”

 

The psychologically driven approach developed by Friedrich Wolfram Heubach allowed Interfunktionen to move beyond the editorial approaches of other art magazines, focusing not only on action art, land art, Fluxus-adjacent practices, and conceptual art, but also on the mechanisms through which such works were received, including the mystique surrounding Joseph Beuys.

MORE BOOKS