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In 62 Episodes until Death
  • serial
  • contemporary culture
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  • aesthetics of film
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Why do computer games exist?
  • Game Studies
  • game theory
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  • computer
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News + Events

Exhibition: On Series, Scenes and Sequences – FEATURE Yves Netzhammer

16.08.2017 – 03.09.2017

ETH Zürich Graphische Sammlung
Rämistrasse 101
8092 Zürich
Schweiz

Anthropocene Lecture: Bruno Latour

29.09.2017, 19:00

Haus der Kulturen der Welt
John-Foster-Dulles-Allee 10
10557 Berlin
Deutschland

Yves Netzhammer: Book Presentation and Artist’s Talk

22.08.2017, 18:30

ETH Zürich Graphische Sammlung
Rämistrasse 101
8092 Zürich
Schweiz

Art and the Politics of Collectivity – Saas-Fee Summer Institute of Art III

03.07.2017 – 28.07.2017

Spike Art Quarterly
Rosa-Luxemburg-Strasse 45
10178 Berlin
Deutschland

BIG BUGS

Beni Bischof, 24.03.2017

Forever!

Star

Shame!

Cheat

War

Wedding

Psych

Suicide

Dying!

Love

TWELVE DRUMMERS DRUMMING

Hanno Leichtmann, 24.03.2017

1. Ringo Starr
2. Mike D.
3. Roland TR 808
4. Jaki Liebezeit
5. Paul Lovens
6. Anthony Williams

ABT. DIE DUEMMSTEN BERLINER FRISÖRNAMEN

Blixa Bargeld, 24.03.2017

Liebhaarber
Schnittstelle
Schnittweise
Haareszeit Friseur
Pierette res capillorum Haarschneiderei
über Kurz oder Lang
Salon Stilkamm
Wasser und Welle
Ja-hairgroup...

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Reports from Fiction
Reports from Fiction

Peter Ott

The Monotheistic Cell Or Reports from Fiction

Around 2007 I had the idea of making a feature film about a German woman who is kidnapped in Iraq. It was supposed to be a chamber piece, shot on two intradiegetic cameras: the video camera of the abductors, with which they alternately monitor their hostages and make propaganda videos, and the video camera with which the Federal Intelligence Service agent documents his interrogation of the hostages after their release. The title was going to be The Monotheistic Cell, aligning... ABO
Fiction

Reiner Schürmann

“I fled Europe as one flees one’s parents’ house“

I recognize that lobby. The Washington Hilton. Men in business suits are crammed in there by the thousands. American philosophers meeting for a convention. A compact assembly of thinkers. Thirty-five hundred of them, Newsweek published the figure. The eastern division of the American Philosophical Association. I make a tour of the counters. There are those of the airlines, TWA, Delta, Allegheny, and those of the hotel, reservations, information, mail, cashier. A perfume shop. 
A shoe-shine place. An art gallery with pictures painted on ­vel­vet. Crowds everywhere. Thinking crowds. All profs. Looking like insurance agents, more readily imagined talking finances than dialectic. Above a bank branch is written: Christmas, Think of it as Money. A prayer for peace follows, signed Riggs National Bank. Between Christmas and New Year’s is the time for the big conventions. I stop in front of every desk as if to bring to life the scene from...

  • memory
  • homosexuality
  • emigration
  • autobiography
  • 1968
Fiction

Tom McCarthy

I’m not really sure what is and what isn’t theory.

Elisabeth Bronfen

Tom, our idea here was that you would give us a little insight into how you find your themes, how you use theory for your texts.

 

T.MC.

I’m not really sure what is and what isn’t theory. I don’t really know where theory stops and fiction begins. If you take someone like, for example, Derrida: half of The Post Card is basically an epistolary novel; it’s fiction, there are characters, there is a character speaking to another character—even while he’s conducting a “theoretical” analysis of Heidegger. I think it’s very hard to pin down that border-line between it being theory/fiction or not theory/fiction. So theory wouldn’t just be a reflection on something else which is somehow more integral; it’s more fluid than that.

A figure like Lévi-Strauss is just wonderful in this respect: Tristes Tropiques is one of the most brilliant books and it’s much better as literature than almost all of...

  • fiction
  • Modernism
  • literary studies
  • conversation
  • literature
Fragility is the only thing I really know about me
Fragility is the only thing I really know about me

Claire Denis

“Fragility is the only thing I really know about me”

I am not a very balanced person. I am fragile and sad – almost as described in Triste Tropiques by Claude Lévi-Strauss. I feel both those adjectives, I grew up with them. I was aware of my fragility even when I was very young – a baby, learning to walk, living somewhere in Africa and already feeling that the number of white persons was very small compared to the number of black persons and also noticing that most of the... ABO
  • autofiction
  • film d'auteur
  • subjectivity
  • identity
Discourse
“With a woman like that you can even live in ­Berlin”

Maria Zinfert

“With a woman like that you can even live in ­Berlin”

  • Siegfried Kracauer
  • collection
  • 1930s
  • exile
  • History of photography
  • 20th century
  • photography
  • portrait
  • Paris
  • photographic images
  • 1950s
  • archive
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Discourse

Artur Żmijewski

»… it’s rather that my perception of the world is unbearable for others…«

Film is a space of freedom – you can behave cynically, or even cruelly, and the viewers will think it’s ›just acting‹ anyway, so you have an alibi.
 Reality is a bit like we describe it. Our bodies are also like we describe them. Disease is pathophysiology’s narrative about the body. Old age is the narrative about the body told by the social security system. Bodies happen to be as society wants them. If it’s a nationalised body, for instance, one called up into the army, the narrative will be potentially tragic and lofty at the same time. […]

Compassion is a concept invented for the purpose of the onlookers – it’s their alibi. I look because I sympathise, not because I’m fascinated by physical deformity – such as the sight of a legless man. And yet it’s also a roadshow of forms, a theatre of strange visual combinations, of unexpected...

  • violence
  • artist
  • conversation
  • contemporary art
  • body
On the distribution of bodies in space
On the distribution of bodies in space

Stefan Hölscher (ed.), Gerald Siegmund (ed.)

Dance, Politics & Co-Immunity

The past years have seen a re-emergence of the need to think about and conceptualise the arts in general and dance in particular in terms of the political. Developments in globalised neo-liberal capitalism and the changes it has produced in the social fabric seem to beg for a statement of some kind from the artistic field. What is more, these changes increasingly affect the production and reception of dance itself, thereby laying bare the ideological underpinnings of its claim for...
  • body
  • community
  • politics
  • performativity
  • globalization
Humanities

Alain Badiou

The artist is the neutral element

1. Art is not the sublime descent of the infinite into the finite abjection of the body and sexuality. On the contrary, it is the production of an infinite subjective series, through the finite means of a material subtraction.


 


2. Art cannot merely be the expression of a particularity (be it ethnic or personal). Art is the impersonal production of a truth that is addressed to everyone.



3. Art is the process of a truth, and this truth is always the truth of the sensible or sensual, the sensible qua sensible. This means: the transformation of the sensible into an happening of the Idea.



4. There is necessarily a plurality of arts, and however we may imagine the ways in which the arts might intersect there is no imaginable way of totalising this plurality.



5. Every art develops from an impure form, and the progressive purification of this impurity shapes the history both of...

  • art
  • contemporary art
  • aesthetics
  • Alain Badiou
  • work of art
Humanities

Frank Ruda

Democracy and its Discontents

Fredric Jameson has diagnosed the contemporary situation as one of subjective perplexity and disorientation. After the failures of all the Marxist attempts to install a framework which could provide for a collective subjective orientation, and after the perpetual intensification of late capitalism’s dynamics, the contemporary epoch is marked by the feeling that “the truth of … experience no longer coincides with the place in which it takes place.” This is to say, that individuals become disoriented because they lack an effective cognitive map of the complete situation they are in. This lack of orientation originates in the absence of a standpoint that would provide not only an abstract, but also a concretizable, perspective on the totality of the situation in which an individual finds himself. Badiou has further complicated the problem of disorientation, by linking it to the modalities of subjectivization offered by contemporary societies. In his analysis he refers to...

  • art
  • contemporary art
  • aesthetics
  • poetry
  • art criticism

 

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