• community
• family
• motherhood
• communism
• birth
• critique of neoliberalism
• social movements

• contemporary art
• film
• Evil
• film d'auteur
• cinema

I said “Would you like a rope? You know that haul you have is not secured properly.”
“No,” he said, “but I see you have string!”
“If this comes into motion—” I said, “you should use a rope.”
“Any poison ivy on that? ” he asked me, and I told him my rope had been in the barn peacefully for years.
He took a length of it to the bedside table. He had no concept for what wood could endure.
“Table must have broken when I lashed it onto the truck,” he said.
And, when he was moving the sewing machine, he let the cast iron wheels—bang, bang on the stair.
I had settled down to pack up the flamingo cookie jar, the cutlery, and the cookware, but stopped briefly, for how many times do you catch sudden sight of something heartfelt?
I saw our milk cows in their slow...

• Africa
• ceremony
• feminism
• ritual
• performance
• body
• spiritism
• colonialism

It wasn’t nature and its dangers that forced domestication and enabled the economic shrine. Temple and funerary cult, sacrifice and distribution of the meat—for Homer all sacrificial animals were still hieria, holy creatures—and the containment of wildness led to symbolic and socio-cultural change, which became the vector and motor of sedentary, food-producing communities. It wasn’t sheep, goats, or cattle that were domesticated first; it was the zoon logon echon itself that bowed to the self-created yoke of the cult. Why, we don’t know. Beyond this it’s important that unlike plants only very few species of animal can be domesticated, and that this shouldn’t be confused with taming. Economic significance develops as an epiphenomenon. It transforms from possible human sacrifice to animal sacrifice to the distribution of meat in early “Greek” antiquity, then to the obeloi (skewers with varying amounts of meat, as tokens for the priests’ or judges’ portion; even...

• economization
• anthropology
• ethnology
• money

I Hate the Avant-Garde. When an artist as self-ironic and self-reflective as Yuri Albert makes such a statement about art, then skepticism is called for. Like his overall series Elitist-Democratic Art, the title deliberately plays with simple affirmations and negations, and at the same time exhibits the inherent receptive dilemma of the series: a (large) part of the artistically trained viewers see these shorthand works as abstract forms, without understanding the text, and only the few who can read (Russian) shorthand perceive a text, which for them doesn’t necessarily have to be art. I Hate the Avant-Garde was created in 2017, after a sketch made in 1987 in reaction to a changed situation in the reception of nonconformist art. With the beginning of perestroika, unofficial art that had hitherto been excluded from the state-run art scene—that is, from the official infrastructure of museums and exhibition spaces, and from art scholarship...

• democracy
• avant-garde
• writing