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Art

Skin marks us in the world

Eduardo Jorge de Oliveira

Invented Skins

First, before you invent a skin, you are born with a skin; second, you can make a skin when you have one.

You never know how many skins you have had by having a single skin. However, this skin has an inseparable memory of the future. Its vital movement depends on this dynamic that inserts it in a specific present. Thus, if skin makes us human, it is also a set of points that mark different ways of feeling. We feel the world through the fragility of our skin. Microorganisms exist in this skin. The most human portion also contains inhuman matter...

Brazil
intertextuality
Think Art
avant-garde
aesthetics

Current Texts

Eric Baudelaire

We cannot assume that all government/terrorist interactions will take the form of a two-person zero-sum game. OPEN
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Artur Zmijewski

“There is something deeply humiliating in such a situation.” OPEN
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Zoran Terzić

Symbolical transplants are necessary

Strangeness is everywhere, but strangers are only where we define them. ABO DE FR

Ornamentation is the body of our thought

Elena Vogman

With Bely, a continuum is continuously produced between visceral organic states, political states of society and meteorological states of the world. OPEN
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Current Texts

Dan-el Padilla Peralta

Capitalism sucks. Tag everything.

it seemed like we’d just been in some horrible dream

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Current Texts

Simon Critchley

Punk’s raptures are mystical.

Iggy showed the error of human existence, the breathless nearness of death, and the lure of fun and action. He was like a much better-looking version of Schopenhauer.

ABO

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ESPACE DIAPHANES Berlin:<br>Art, Magazine, Books

ESPACE DIAPHANES Berlin:
Art, Magazine, Books

New releases

Antonin Artaud, Stephen Barber (ed.): Last Writings of Antonin Artaud

Anna Kipke (ed.), Iryna Kovalenko (ed.), ...: Drafts in Action

Eyal Weizman, Ines Weizman: Before & After

Thomas Köck: un gran casino (ta pissà adoss l’ürocc)

THINK ART? THINK ART!

Monograph

Around a sculpture by Alberto Giacometti

Does this buried or lost face have a name?

Georges Didi-Huberman, Mira Fliescher (ed.), Elena Vogman (ed.)

The Cube and the Face

Anthology

Zur Kritik der Wirksamkeit in den Künsten

In den heutigen Praxistheorien spielen Dinge und ihre Materialität eine prominente Rolle. Dinge gelten als ausgesprochen wirkmächtig, insofern sie als...

Kathrin Busch (ed.), Burkhard Meltzer (ed.), Tido von Oppeln (ed.)

Ausstellen

Monograph

One plus one equals other

For an aesthetic mode of thought beyond the “linguistic turn”

Dieter Mersch

Epistemologies of Aesthetics

Monograph

Studien zur Bildlichkeit des Films

Filmbetrachtung hat es zunächst mit materiellen Sichtbarkeiten zu tun, mit Bildern, die dem Blick gegeben sind, bevor sie zu erzählen...

Fabienne Liptay

Telling Images

Topics

The Subject of Capitalism
- capitalism
- cognitive capital
- migration
- subjectification
Color and meaning
Who is afraid of Red, Yellow, Blue…?
- semiotics and semiology
- chromatics / colour science
- color
- image and imagery
- monochrome
Autofiction—Metafiction
- Theory of fiction
- autofiction
- autobiography
- fiction
- memory
Observing the Spectator
- mirror
- gaze
- observer
- optical illusion

Current Texts

Clémentine Deliss

A coffin to bury the statues of the ancestors

I was initially slightly sceptical of the ramifications and undertones of Renzo Martens’ project in central Congo…

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sculpture
contemporary art
Africa
museum
colonialism
colonial history

Current Texts

Dennis Cooper, Donatien Grau, ...

Sex creates love and love creates sex

“I don’t believe in progress, no.”

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philology
music

Current Texts

Slavs and Tatars

To what extent can a revolution of the inner world impact the external, material world surrounding us? OPEN
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What is the problem with solutions? Blind or deaf? Which faith? What knowledge? Duchamp or Warhol? East or west? OPEN
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Michele Pedrazzi

Cosa porterà il prossimo bit? Sconvolgenti novità? Semplice ridondanza? OPEN
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“Fuck that thing.” That’s all punk needs.

Donatien Grau, James Spooner

“The thing about punk is that you’re allowed to talk about anything. Kids can talk about whatever they want. There’s nobody saying, ‘No, you can’t do that, it’s not punk.’” OPEN
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Books

Antonin Artaud, Stephen Barber (ed.): Radio Works: 1946–48

Sebastián Eduardo Dávila (ed.), Rebecca Hanna John (ed.), ...: On Withdrawal—Scenes of Refusal, Disappearance, and Resilience in Art and Cultural Practices

Mathilde Arnoux (ed.), Maria Bremer (ed.): Westkunst, 1981

Daniel Berndt (ed.), Susanne Huber (ed.), ...: ambivalent work*s

Dieter Mersch: Epistemologies of Aesthetics

Political Reflections on Choreography, Dance and Protest 

Oliver Marchart

Dancing Politics

What happens when today’s sovereign, the people, start dancing publicly for reasons of protest?

The human body is the most important medium through which a public space is curved out of the social. Of course, this does not always have to occur in form of a militarized collective marching in-sync through the streets. Very often it is precisely the vulnerability of bodies which is used as a performative medium of protest (up to the extreme point where people decide to publicly set themselves on fire). Taking this word of caution into account, we may...

ABO