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Sandra Frimmel
is an art historian and the research coordinator of the Centre for Arts and Cultural Theory (ZKK) at the University of Zurich. Research interests: Russian art, art and power/law/society.
Other texts by Sandra Frimmel for DIAPHANES
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Zeichnen als Realitätserkundung
In: Victoria Lomasko, Die Unsichtbaren und die Zornigen
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Zum Cover: Yuri Alberts Bilddenken
In: Dieter Mersch (ed.), Sylvia Sasse (ed.), Sandro Zanetti (ed.), Ästhetische Theorie
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Notes on the Cover: Yuri Albert’s Figurative Thinking
In: Dieter Mersch (ed.), Sylvia Sasse (ed.), Sandro Zanetti (ed.), Aesthetic Theory
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Gefallene Engel und andere Shootingstars. Zur Rezeption radikaler künstlerischer Positionen in Russland
In: Nina Bandi (ed.), Marina Belobrovaja (ed.), Rachel Mader (ed.), Siri Peyer (ed.), Bernadett Settele (ed.), What can art do?
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Lenin ist ein Pilz. Auf den Spuren des sowjetischen Imperiums
In: Victoria Lomasko, Die letzte sowjetische Künstlerin
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Human Extractivism in the Land of Lenin: Soviet Deportations and Their Aftermath in Victoria Lomasko's Graphic Reportages
In: Liliana Gómez (ed.), Fabienne Liptay (ed.), Eco-operations
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A “Foreign Agent” on the Twisted World of Russian Propaganda
In: Muriel Fischer (ed.), Sandra Frimmel (ed.), Nanina Graf (ed.), Iryna Herasimovich (ed.), Sylvia Sasse (ed.), Global Narratives of Russian Disinformation
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Global Narratives of Russian Disinformation
In: Muriel Fischer (ed.), Sandra Frimmel (ed.), Nanina Graf (ed.), Iryna Herasimovich (ed.), Sylvia Sasse (ed.), Global Narratives of Russian Disinformation
Fabienne Liptay
Fabienne Liptay is a professor of Film Studies at the University of
Zurich. Currently, she is directing the research project Exhibiting Film:
Challenges of Format (2017–2026), which was awarded an excellence
grant by the Swiss National Science Foundation. She has published widely on the theory and aesthetics of the moving image, film exhibition, time-based artistic practice, and expanded cinema. Her publications include the monograph Telling Images: Studien zur Bildlichkeit des Films (diaphanes, 2016), as well as the co-edited volumes Taking Measures: Usages of Formats in Film and Video Art (Scheidegger & Spiess, 2023) in collaboration with the Migros Museum für Gegenwartskunst, and Eco-operations (diaphanes, 2024) with Liliana Gómez in collaboration with the documenta Institut. Together with Dorota Sajewska and a group of researchers, artists, and curators, Fabienne Liptay founded the Institute for Performance and Film Expanded (www.ipf-expanded.com)—a platform for the transformative power of nondisciplinary thinking and art.
Other texts by Fabienne Liptay for DIAPHANES
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Capturing Motion, Shaping Time. From Chronophotography to Digital Film
In: Michael F. Zimmermann (ed.), Vision in Motion
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Praktische Epistemologie: William Kentridge
In: Dieter Mersch (ed.), Sylvia Sasse (ed.), Sandro Zanetti (ed.), Ästhetische Theorie
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Practical Epistemology: William Kentridge
In: Dieter Mersch (ed.), Sylvia Sasse (ed.), Sandro Zanetti (ed.), Aesthetic Theory
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Eco-operations: An Introduction
In: Liliana Gómez (ed.), Fabienne Liptay (ed.), Eco-operations
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Ana Mendieta: From Cooperation to Entanglement
In: Liliana Gómez (ed.), Fabienne Liptay (ed.), Eco-operations
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On Eco-operations and Decoloniality: A Discussion
In: Liliana Gómez (ed.), Fabienne Liptay (ed.), Eco-operations
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The Sirenic: An Introduction
In: Giuseppe Di Salvatore (ed.), Fabienne Liptay (ed.), The Sirenic: Follow the Water, Follow the Sound
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On the Higher Frequencies
In: Giuseppe Di Salvatore (ed.), Fabienne Liptay (ed.), The Sirenic: Follow the Water, Follow the Sound
Dorota Sajewska
Dorota Sajewska is Professor of Theatre and Performance Studies at the Ruhr University Bochum. From 2016 to 2023 she was Assistant Professor of Interart at the University of Zurich and of Theatre and Performance at the University of Warsaw. Her research focuses on performative arts, body anthropology and decolonisation of knowledge. She is the author of numerous texts on performative practices, theories and archives, including the monograph Necroperformance. Cultural Reconstruction of the Body (2019) and the anthology Crisis and Communitas. Performative Concepts of Commonality in Art and Politics (2023). From 2008-2012 she was chief dramaturge and deputy artistic director of Teatr Dramatyczny in Warsaw. Since 2019 she has been working as a dramaturge with Alexandra Bachzetsis. In 2024, together with Fabienne Liptay, she founded the Institute for Performance and Film Expanded – a platform for the transformative power of transdisciplinary thinking and art.
Other texts by Dorota Sajewska for DIAPHANES
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Körper-Gedächtnis, Körper-Archiv: Der Körper als Dokument in künstlerischen Rekonstruktionspraktiken
In: Magdalena Marszałek (ed.), Dieter Mersch (ed.), Seien wir realistisch
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The Postmortal Life of the Body. A Prologue
In: Dorota Sajewska, Necroperformance
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The Cultural Reconstruction of Theatre
In: Dorota Sajewska, Necroperformance
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An Archive of the Great War
In: Dorota Sajewska, Necroperformance
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Polish Angels of History
In: Dorota Sajewska, Necroperformance
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Phantom Bodies
In: Dorota Sajewska, Necroperformance
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The Return of Odysseus the Soldier
In: Dorota Sajewska, Necroperformance
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Theory as Remain
In: Dorota Sajewska, Necroperformance
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Nekroperformanz: Theorie als Rest
In: Dieter Mersch (ed.), Sylvia Sasse (ed.), Sandro Zanetti (ed.), Ästhetische Theorie
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Necroperformance: Theory as Remains
In: Dieter Mersch (ed.), Sylvia Sasse (ed.), Sandro Zanetti (ed.), Aesthetic Theory
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Performing Periphery or the Ambivalence of Demodernization. Notes on Artur Żmijewski’s Film "Glimpse"
In: Liliana Gómez (ed.), Performing Human Rights
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The Anthropo-scene as a Site of New Relationality
In: Liliana Gómez (ed.), Fabienne Liptay (ed.), Eco-operations
Sylvia Sasse
Sylvia Sasse is a professor of Slavic studies at the University of Zurich and co-founder of the ZKK (Centre for Arts and Cultural Theory), member of ZGW (Center "History of Knowledge"), and co-editor of "Geschichte der Gegenwart" (www.geschichtedergegenwart.ch).
Other texts by Sylvia Sasse for DIAPHANES
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1988. Matthew Barney. Selbstbehinderung OPEN
ACCESSIn: Sandro Zanetti (ed.), Improvisation und Invention
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1915. Nikolaj Evreinovs Theatertherapie. Heilung durch Improvisation
In: Sandro Zanetti (ed.), Improvisation und Invention
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1834. Maximilian Langenschwarz und die Kunst, sich selber Steine in den Weg zu legen
In: Sandro Zanetti (ed.), Improvisation und Invention
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1832. Improvisation versus Dichtung. Odoevskij und Puškin
In: Sandro Zanetti (ed.), Improvisation und Invention
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Den Staat an seine Gesetze erinnern. Dissidenz als Wissen vom Recht
In: Monika Dommann (ed.), Kijan Malte Espahangizi (ed.), Svenja Goltermann (ed.), Nach Feierabend 2015
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Vorwort
In: Inke Arns (ed.), Igor Chubarov (ed.), Sylvia Sasse (ed.), Nikolaj Evreinov: »Sturm auf den Winterpalast«
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»Geschichte wird mit dem Objektiv geschrieben«. Wie das Foto vom theatralen Sturm zum historischen Dokument wird
In: Inke Arns (ed.), Igor Chubarov (ed.), Sylvia Sasse (ed.), Nikolaj Evreinov: »Sturm auf den Winterpalast«
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Foreword
In: Inke Arns (ed.), Igor Chubarov (ed.), Sylvia Sasse (ed.), Nikolai Evreinov: »The Storming of the Winter Palace«
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“History is Written with the Lens”: How the Photo of the Theatrical Storming becomes a Historical Document
In: Inke Arns (ed.), Igor Chubarov (ed.), Sylvia Sasse (ed.), Nikolai Evreinov: »The Storming of the Winter Palace«
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Einleitung
In: Dieter Mersch (ed.), Sylvia Sasse (ed.), Sandro Zanetti (ed.), Ästhetische Theorie
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Der theoretische Akt
In: Dieter Mersch (ed.), Sylvia Sasse (ed.), Sandro Zanetti (ed.), Ästhetische Theorie
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Introduction
In: Dieter Mersch (ed.), Sylvia Sasse (ed.), Sandro Zanetti (ed.), Aesthetic Theory
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The Theoretical Act
In: Dieter Mersch (ed.), Sylvia Sasse (ed.), Sandro Zanetti (ed.), Aesthetic Theory
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Michail M. Bachtin: »Литературоведение как наиболее свободная (почти карнавальная) область исследования«
In: Thomas Fries (ed.), Sandro Zanetti (ed.), Revolutionen der Literaturwissenschaft 1966–1971
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Julia Kristeva: »[L]a seule manière qu’a l’écrivain de participer à l’histoire devient alors la transgression […] par une écriture-lecture.«
In: Thomas Fries (ed.), Sandro Zanetti (ed.), Revolutionen der Literaturwissenschaft 1966–1971
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Introduction—The Power of (Global) Narratives in Propaganda and Disinformation
In: Muriel Fischer (ed.), Sandra Frimmel (ed.), Nanina Graf (ed.), Iryna Herasimovich (ed.), Sylvia Sasse (ed.), Global Narratives of Russian Disinformation
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Global Narratives of Russian Disinformation
In: Muriel Fischer (ed.), Sandra Frimmel (ed.), Nanina Graf (ed.), Iryna Herasimovich (ed.), Sylvia Sasse (ed.), Global Narratives of Russian Disinformation
Artur Zmijewski, Sandra Frimmel (ed.), Fabienne Liptay (ed.), Dorota Sajewska (ed.), Sylvia Sasse (ed.)
Softcover, 240 pages
PDF, 240 pages
Kunst als Alibi – damit ist eine Strategie des polnischen Videokünstlers Artur Żmijewski benannt. In seinen Arbeiten rehabilitiert Żmijewski die Idee der Wirkung von Kunst auf die Gesellschaft als Konzept autonomer Kunstproduktion. Dabei verzichtet er radikal auf eine Ästhetisierung der Wirklichkeit. Kunst ist für ihn vielmehr ein »Werkzeug«, ein »Mechanismus« und manchmal auch nur das »Alibi«, um politisch in die Welt eingreifen zu können. Er arbeitet mit MuseumsdirektorInnen, mit Frauen im Gefängnis, mit KünstlerInnen, AktivistInnen und PolitikerInnen.
Der vorliegende Band versammelt ausgewählte Essays, Gespräche und Bilder Żmijewskis, die die Idee der künstlerischen Praxis, die er selbst auch »Angewandte Gesellschaftskunst« nennt, vorstellen und diskutieren.