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 stands in the harsh light of aesthetic mourning, dreaming of a rear-guard of the many, conjugating the past into the future perfect.
DIAPHANES 6/7 stellt sich ins harte Licht ästhetischer Trauer, träumt von einer Nachhut der Vielen, konjugiert Vergangenes im Futur 2.
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.
Was there ever anything inherent? Or wasn’t there always something different—appropriated?
The cultural public sphere is simultaneously exploding and imploding.
Like all horizons, the future withdraws into the distance; the closer we get to it, the more it moves ahead and remains out of reach.
When to switch off? What to look for? How to write? Which lines to draw? Whence self-recognition? DIAPHANES 3—TIME PROBE ZERO SYNTHESIS
In 1920, the third anniversary of the October Revolution, The Storming of the Winter Palace was performed with a cast of 10,000.
Everything is connected to everything else, says Lenin, as do the finance gurus…
30 out of 97 Title