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Art

Skin marks us in the world

Eduardo Jorge de Oliveira

Invented Skins

First, before you invent a skin, you are born with a skin; second, you can make a skin when you have one.

You never know how many skins you have had by having a single skin. However, this skin has an inseparable memory of the future. Its vital movement depends on this dynamic that inserts it in a specific present. Thus, if skin makes us human, it is also a set of points that mark different ways of feeling. We feel the world through the fragility of our skin. Microorganisms exist in this skin. The most human portion also contains inhuman matter...

Think Art
aesthetics
avant-garde
intertextuality
Brazil

Current Texts

Jelili Atiku, Damian Christinger

The key to survival will lay in female hands. OPEN
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A coffin to bury the statues of the ancestors

Clémentine Deliss

I was initially slightly sceptical of the ramifications and undertones of Renzo Martens’ project in central Congo… OPEN
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When life’s hard, time’s a motherfucker going slow

Soham Gupta

In his photographs and texts, Calcutta-based Soham Gupta forces the tension that arises between fiction and real-life conditions in as yet unseen ways. ABO DE FR

“Fuck that thing.” That’s all punk needs.

Donatien Grau, James Spooner

“The thing about punk is that you’re allowed to talk about anything. Kids can talk about whatever they want. There’s nobody saying, ‘No, you can’t do that, it’s not punk.’” OPEN
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Current Texts

Elena Vogman

Ornamentation is the body of our thought

With Bely, a continuum is continuously produced between visceral organic states, political states of society and meteorological states of the world.

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Current Texts

Simon Critchley

Punk’s raptures are mystical.

Iggy showed the error of human existence, the breathless nearness of death, and the lure of fun and action. He was like a much better-looking version of Schopenhauer.

ABO

Magazine Online

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ESPACE DIAPHANES Berlin:<br>Art, Magazine, Books

ESPACE DIAPHANES Berlin:
Art, Magazine, Books

New releases

Liliana Gómez (ed.), Fabienne Liptay (ed.): Eco-operations

Kieran Aarons (ed.), Reiner Schürmann, ...: The Place of the Symbolic

Wolfgang Brückle (ed.), Fred Truniger (ed.): Display, Distribute, Disrupt

Daniel Berndt (ed.), Susanne Huber (ed.), ...: ambivalent work*s

Anna Kipke (ed.), Iryna Kovalenko (ed.), ...: Drafts in Action

Mathilde Arnoux (ed.), Maria Bremer (ed.): Westkunst, 1981

THINK ART? THINK ART!

Monograph

Über das Denken der Kunst

Von der Kunst als Forschung und der Forschung als Kunst ist spätestens seit den 1990er Jahren die Rede. Das Konzept sucht die Künste und Wissenschaften in ihrer Arbeitsweise einander anzunähern, doch wird dabei kaum die Frage gestellt, welche Art von Wissen die Künste im Unterschied zu den Wissenschaften hervorbringen. Dieter...

Dieter Mersch

Epistemologien des Ästhetischen

Anthology

Zur Kritik der Wirksamkeit in den Künsten

In den heutigen Praxistheorien spielen Dinge und ihre Materialität eine prominente Rolle. Dinge gelten als ausgesprochen wirkmächtig, insofern sie als...

Kathrin Busch (ed.), Burkhard Meltzer (ed.), Tido von Oppeln (ed.)

Ausstellen

Monograph

Studien zur Bildlichkeit des Films

Filmbetrachtung hat es zunächst mit materiellen Sichtbarkeiten zu tun, mit Bildern, die dem Blick gegeben sind, bevor sie zu erzählen...

Fabienne Liptay

Telling Images

Monograph

Around a sculpture by Alberto Giacometti

Does this buried or lost face have a name?

Georges Didi-Huberman, Mira Fliescher (ed.), Elena Vogman (ed.)

The Cube and the Face

Topics

Observing the Spectator
- observer
- gaze
- mirror
- optical illusion
Autofiction—Metafiction
- autobiography
- autofiction
- memory
- Theory of fiction
- fiction
Color and meaning
Who is afraid of Red, Yellow, Blue…?
- image and imagery
- chromatics / colour science
- monochrome
- semiotics and semiology
- color
The Subject of Capitalism
- cognitive capital
- subjectification
- migration
- capitalism

Current Texts

Zoran Terzić

Symbolical transplants are necessary

Strangeness is everywhere, but strangers are only where we define them.

ABO DE FR

Current Texts

Eric Baudelaire

A for Anomie

We cannot assume that all government/terrorist interactions will take the form of a two-person zero-sum game.

A for Anomie

The idea that terrorism and other forms of political violence are directly related to strains caused by strongly held grievances has been one of the most common explanations to date and can be traced to a diverse set of theoretical concepts including relative deprivation, social disorganization, breakdown, tension, and anomie. Merton (1938) identifies anomie as a cultural condition of frustration, in which values regarding goals and how to achieve them conflict with limitations on the means of achievement.

Gary LaFree and Laura Dugan, “Research on Terrorism and Countering Terrorism”, Crime and Justice, Vol. 38, No. 1, 2009.

B for Block or Blocked

If terrorism in each of its expressions can be considered an indicator of the existence of a political block (of an impossibility of reacting if one wishes to react differently), this influences its real ability to modify the situation. Terrorism has been historically more successful when it was not...

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Current Texts

Michele Pedrazzi

Cosa porterà il prossimo bit? Sconvolgenti novità? Semplice ridondanza? OPEN
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What is the problem with solutions? Blind or deaf? Which faith? What knowledge? Duchamp or Warhol? East or west? OPEN
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»Three hundred people left The House that Jack Built. I think that’s very good, and it wasn’t Cannes.« ABO DE

Artur Zmijewski

“There is something deeply humiliating in such a situation.” OPEN
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Books

Georges Didi-Huberman, Mira Fliescher (ed.), ...: The Cube and the Face

Maria Zinfert (ed.): Kracauer. Photographic Archive

Wiktoria Furrer, Carla Gabrí, ...: How to Teach Art?

Sara Alonso Gómez (ed.), Isabel J. Piniella Grillet (ed.), ...: NO Rhetoric(s)

Antonin Artaud, Stephen Barber (ed.): “Here Lies” preceded by “The Indian Culture”

Between global and local ecologies

Liliana Gómez (ed.), Fabienne Liptay (ed.)

Eco-operations

Eco-operations addresses these emerging aesthetic ecologies and new technologies of cooperation that both challenge and shape a sustainable future

What is euphemistically called climate change, or more directly climate crisis, has already become part of both aesthetic discourses and critical research perspectives in culture and the arts. Yet, until recently, the focus has mainly been on the representation of the prevalent ecological relationships and cycles, or on the impact on the environment and contemporary society. Increasingly, however, future-oriented, ecologically conceived potentialities of artistic actions are being explored by new alliances of artists, curators, activists, scholars, and other actors of...