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To end GOD’S JUDGEMENT
Antonin Artaud, Stephen Barber (ed.)
Radio Works: 1946–48
Artaud’s work is performative in the sense that it never simply describes, but actively produces the events it enacts. As Austin characterises performative language, ‘the issuing of the utterance is the performing of an action’.3 Artaud’s work, performed correctly, is magical, finding its power in ritualistic chanting. Intonation is key to this, recalling what he wrote about metaphysical language in The Theatre and its Double, where the aim is ‘to deal with intonations in an absolutely concrete manner, restoring their...
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Jelili Atiku, Damian Christinger
Mama Say Make I Dey Go, She Dey My Back
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Anthology
Zu einer Poetik des Seriellen
Elisabeth Bronfen (ed.), Christiane Frey (ed.), David Martyn (ed.)
Noch einmal anders
Anthology
Zur Kritik der Wirksamkeit in den Künsten
Kathrin Busch (ed.), Burkhard Meltzer (ed.), Tido von Oppeln (ed.)
Ausstellen
Monograph
Around a sculpture by Alberto Giacometti
Georges Didi-Huberman, Mira Fliescher (ed.), Elena Vogman (ed.)
The Cube and the Face
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»The camera is my »exosomatic extension‹.«
Gertrud Koch, Michael Lüthy, ...
A Walk With Allan Sekula Through His Exhibition
Gertrud Koch: We would like to start by discussing the different narrative forms you have chosen for the titles of your series, like »story«, »fable« or »tale«: how would you differentiate between stories and fables, and what autobiographical narratives are involved here? Is it a kind of metanarrative, is it a composing of different narrative moments?
Allan Sekula: Very often my titling a particular work has an idiomatic logic: Fish Story has a vernacular resonance, particularly in American English where a...
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Mehdi Belhaj Kacem, Philippe Sollers
Like no other journal, Tel Quel was an outstanding arena of literary innovation and intellectual revolution. In this conversation its founder and publisher, Philippe Sollers, provides intimate insight and polemical hindsight into some of the most important milestones of its still-resonating era.
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