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Art
Mario Schulze (ed.), Sarine Waltenspül (ed.)
String Figures
Anthology
Zur Kritik der Wirksamkeit in den Künsten
Kathrin Busch (ed.), Burkhard Meltzer (ed.), Tido von Oppeln (ed.)
Ausstellen
Anthology
Zu einer Poetik des Seriellen
Elisabeth Bronfen (ed.), Christiane Frey (ed.), David Martyn (ed.)
Noch einmal anders
Jelili Atiku, Damian Christinger
Mama Say Make I Dey Go, She Dey My Back
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Kati Kroß
Christoph Schlingensief's »Freakstars 3000«
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Zoran Terzić
Everything new is a pose in the alcoves of capital
In the late nineteenth century Alfred Jarry created a prototype of the modern wannabe in his pot-bellied Père Ubu, a figure that raises entitlement to a high art. Ubu doesn’t want to be king; others urge him to it. But he is also the others. And when he does become king, CEO, or US president, he doesn’t know what it means, or if it means anything at all. He just states his claim. And so he shimmies from statement to power. And having obtained power, Ubu decerebrates the world, exposing the grounds for groundlessness, to paraphrase Ortega y Gasset. Ubu is a tautomaniac, that is, he can be explained in his own terms and is thus always in the right (being in the right is all he is). He needs no proof, but on the contrary wants “to turn the absurd into the highest power of thought” (Deleuze & Guattari)....
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