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When life’s hard, time’s a motherfucker going slow
Soham Gupta
Angst
Through the grayness of this concrete city, streams of tin-box vehicles flow ahead languidly – and like at a river’s delta, distributaries of little hatchbacks and dented yellow taxis branch off from the main road, spreading in varied directions. From your roof, you can see the whole city, you can feel it’s pulse – yet, there is such a strange silence around you, it’s as if the noise below is far, far away, so far that you are actually longing...
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Anthology
Zur Kritik der Wirksamkeit in den Künsten
Kathrin Busch (ed.), Burkhard Meltzer (ed.), Tido von Oppeln (ed.)
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Anthology
Zu einer Poetik des Seriellen
Elisabeth Bronfen (ed.), Christiane Frey (ed.), David Martyn (ed.)
Noch einmal anders
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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»… Consistently Abused and Forced…«
Kati Kroß
Christoph Schlingensief's »Freakstars 3000«
When non-disabled artists such as Jérôme Bel or Christoph Schlingensief in their productions work with actors who, in hegemonic discourse, are referred to as disabled, they almost invariably face criticism over the exploitation and voyeuristic exhibition of these people. Bel’s Disabled Theater anticipated such reservations and took a good deal of wind out of its critics’ sails by having the performers themselves raise these issues on stage and report on their families’ reactions to the piece. Nevertheless, the question whether...
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