DIAPHANES 8/9 fragt nach den eigentümlichen Schleifen reproduzierter Gegenwart, dem Integral zirkulärer Ich-Effekte, der anderen Seite des sozialen Möbiusbands.
DIAPHANES 8/9 looks into curious loops of reproduced present, the integral of circular I-effects, the other side of the social Möbius strip.
A phantom that has haunted the imagination of many filmmakers, historians, and writers to the present day,
A ghostly France: Emptiness and explosiveness behind the lines.
DIAPHANES 6/7 stellt sich ins harte Licht ästhetischer Trauer, träumt von einer Nachhut der Vielen, konjugiert Vergangenes im Futur 2.
DIAPHANES 6/7 stands in the harsh light of aesthetic mourning, dreaming of a rear-guard of the many, conjugating the past into the future perfect.
DIAPHANES 5 turns its attention to deception and censorship, violence and consumerism, desire and norm, looks for reflections between the poles, ambiguous peripheries, moments of anarchic seeing—not just in art.
“Today we are facing chaos all over again,” … wrote André Masson when asked about the situation of contemporary painting in the summer of 1931.
Only white noise and desire in can overturn the frozen discontent.
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