A for Anomie

The idea that terrorism and other forms of political violence are directly related to strains caused by strongly held grievances has been one of the most common explanations to date and can be traced to a diverse set of theoretical concepts including relative deprivation, social disorganization, breakdown, tension, and anomie. Merton (1938) identifies anomie as a cultural condition of frustration, in which values regarding goals and how to achieve them conflict with limitations on the means of achievement.

Gary LaFree and Laura Dugan, “Research on Terrorism and Countering Terrorism”, Crime and Justice, Vol. 38, No. 1, 2009.

B for Block or Blocked

If terrorism in each of its expressions can be considered an indicator of the existence of a political block (of an impossibility of reacting if one wishes to react differently), this influences its real ability to modify the situation. Terrorism has been historically more successful when it was not...

• sculpture
• contemporary art
• colonialism
• museum
• colonial history
• Africa

• spatial turn
• South America
• theory of architecture
• architecture
• fiction
• poetics
• community

• contemporary art
• ceremony
• theatre studies
• anarchy
• theatre / drama
• Alain Badiou


I understand art as a tool to encounter the world. I understand art as a tool to confront reality. And I understand art as a tool to live within the time in which I am living. I always ask myself: Does my work have the ability to generate an event? Can I encounter someone with my work? Am I – through my work – trying to touch something? Can something – through my work – be touched? Doing art politically means considering the work that I am doing today – in my milieu, in my history – as a work which aims to reach out of my milieu – beyond my history. I want – in and through my life – to address and confront universal concerns. Therefore I must work with what surrounds me, with what I know and with what affects me. I must not give in to...

• commitment
• subjectivity
• criticism
• contemporary art

During my »Très grand Buffet« show in Fribourg, someone noticed that the works from the »Virus«, »Merci, Danke, Thank You« and »Les larmes« series were done in ball-point pens. And this person asked if I drew with »Bic« ball-point pens and said that the company »Bic« is a financing supporter of Le Pen. An information in an official journal on the financing of political parties announced this fact. It’s shit to support Le Pen. But it’s also shit to have to think about these questions.

• polemic