“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…
If you look at life as if you would soon be dead, how do you look back?
Open for the plurality of all forms of imagination and knowledge, DIAPHANES MAGAZINE connects an interest in current tendencies with deep-rooted research, the power of fiction with nuanced judgment, aesthetic excitability with essayistic sharpness.
How does the emergence of masses, multitudes, mobs, movements, communities, collectives, bands, or swarms relate to the law? When does flight turn into colonization? What is the situation before the law? What is the camp? How does the people relate to the camp?
All of these studies convey an acute feeling for duration not as a primordial experience of time and freedom, not even of vitalist freedom as linked to violence, but of a protracted presence resulting from a great diversity of temporality as it is shaped within a medium—and of coding vital (or lethal) time by means of the media.
What does one need to hunt an animal that might not exist? Books? There are many things in books that don’t exist…
Netzhammers raffiniert präzise Bildrhetorik eröffnet ein subtiles Spiel, das dem Betrachter jede Lesart erlaubt und ihm diese sogleich widerlegt.
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