We are looking forward to the future because the changes—only three issues a year, but more voluminous and with a sewn binding, instead of the previous four in an adhesive binding—offer a challenging opportunity to expand the playing potential of our instrument, Parkett.

The extra month between issues corresponds to the proportional increase in the size; the additional pages (the new binding will make for easier reading and a more durable publication) allow us to explore new forms in which to juxtapose our collaboration artists.

For instance, the present issue. The artists who have worked with us in creating this volume could not be more divergent and yet they share an underlying motif: distance and proximity. It is intrinsic to the number "three" that juxtapositions follow different ave¬nues of interaction than in the paired combinations of previous Parkett collaborations.Celmins, Gursky, Tiravanija—in alphabetical and, incidentally, chronological order—share a certain slowness of pace in their pursuit of extremely heterogeneous interests. A look at their methods reveals the youngest, Rirkrit Tiravanija, to be the fastest in appealing to slowness. The motif of distance and proximity is related to the perception of the world, and in the present case, to drawing the world into the realm of art. While Vija Celmins measures distances whose point of departure is the reality of the picture, Andreas Gursky's painterly gaze through the camera lens seeks out entirely new angles in which he explores the uncharted territory between collective assumptions on art and the unconventional places he discovers on our planet. And Rirkrit Tiravanija's quotidian interventions such as his cooking events in galleries and museums become—by the very act of being placed in the art context—engaging indications of their basically explosive impact. Language: English/German