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Jurij Pavlovich Annenkov

A Diary of my Encounters

We rehearsed the crowd scenes in the Winter Palace, in the Throne Room and the Armorial Hall.

Evreinov was occupied with the spectacle’s theatrical, dramaturgical side. Due to its immense size, the production was directed collectively: Evreinov was the director-in-chief, followed by Kugel, Petrov, Derzhavin, and myself. I also designed the scenery and the costumes. My stage sets spanned the entire width of Palace Square and reached up to the third floor of the General Staff. They consisted of two huge platforms (a White and a Red one), connected by a steep bridge. There were around 8,000...

ABO

Current Texts

Artur Zmijewski

“There is something deeply humiliating in such a situation.” OPEN
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Dennis Cooper, Donatien Grau, ...

“I don’t believe in progress, no.” OPEN
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“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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Slavs and Tatars

To what extent can a revolution of the inner world impact the external, material world surrounding us? OPEN
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Current Texts

Dieter Mersch

Digital disrupture

The machine remains alien to any mechanical limitation.

We really need an analysis of algorithmic conditions and their paradoxes and ambiguities that gives them an adequate framework and horizon. But instead we currently seem to be finding an algorithmic solution of the algorithmic, much as digital solutions are being offered for the problems of the digital public sphere, in the way that IT corporations, for example, use exclusively mathematical procedures to evaluate and delete “fake news,” inappropriate portrayals, or the violation of personal rights. This tends to result in a circularity that leaves the drawing of boundaries and raising of barriers solely to programming, instead of restoring them to our ethical conscience and understanding of what the social could mean today. The machine, by contrast, remains alien to any mechanical limitation—just as its inability to decide lies in the impossibility of self-calculation. The nucleus of digital culture should instead be sought where the cultural of culture is located:...

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Current Texts

»Self-censorship is the worst.«

»Three hundred people left The House that Jack Built. I think that’s very good, and it wasn’t Cannes.«

ABO DE

film
film d'auteur
contemporary art
Evil
cinema

Magazine Online

The Subject of Capitalism

Monograph

Zur Herrschaft der Finanzialisierung

Seit dem Zusammenbruch der Banken im Jahr 2008 scheint der Kapitalismus in eine Phase anhaltender Stagnation sowie geopolitischer und monetärer Instabilität eingetreten zu sein. Das Szenario, das sich vor unseren Augen abspielt, lässt an eine Art »Sozialismus des Kapitals« denken: Der Staat, der die Bedürfnisse der »Finanzsowjets« sichert, erlegt der...

Christian Marazzi

Sozialismus des Kapitals

Monograph

Von der Diktatur des Marktes über die Gesellschaft

Ein eindringliches, bestens informiertes und wichtiges Buch. Christian Marazzi liefert in Verbranntes Geld eine innovative Analyse der Finanzökonomie, die heute die Wirtschaftskreisläufe in ihrer Gesamtheit durchdringt. Die globale Krise des Finanzkapitalismus ist nicht etwa eine unproduktive oder parasitäre Abweichung auf dem Weg zu mehr Wachstum. Im Gegenteil, es offenbart sich...

Christian Marazzi

Verbranntes Geld

Monograph

Mad Men, Death and the American Dream

Matthew Weiner’s series Mad Men is more than a resonant time capsule. Elisabeth Bronfen’s claim is that the show not only thrives on a significant double voicing, reviving the literature, film, music and fashion of the past within and for the cultural concerns of the present. With Don Draper an...

Elisabeth Bronfen

Mad Men, Death and the American Dream

Anthology

The Question of Cohabitation

What is the current state of the subject and what about the status of its self-image? In contemporary discourses we... OPEN
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Kerstin Stakemeier (ed.), Susanne Witzgall (ed.)

Fragile Identities

Topics

minima oeconomica
Analysen und Kritik moderner Ökonomie, deren Wissenschaft und Legitmation im Zeitalter der Finanzialisierung
- financial markets
- financial crisis
- economy
- discourse history
- economization
- economics
Autofiction—Metafiction
- fiction
- Theory of fiction
- autofiction
- memory
- autobiography

Current Texts

Malte Fabian Rauch

Camouflaged with a visual language

What Reena really wanted to know was why – in a night club, for example – do we chose, always and above all, that nothing happens?”

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Current Texts

Clémentine Deliss

A coffin to bury the statues of the ancestors

I was initially slightly sceptical of the ramifications and undertones of Renzo Martens’ project in central Congo…

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sculpture
Africa
colonial history
museum
colonialism
contemporary art

Current Texts

Black Panther is an American, not an African story

A.K. Kaiza

In another era, the mish-mash presentation of Africa would have been the focal point of criticism. But this is not the age for facts. OPEN
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Marie Glassl, Sophie Lewis

“If you love your family, you want family abolition for them!” ABO DE

Sina Dell’Anno

“He always read Priam instead of ‘prime’.” OPEN
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Dan-el Padilla Peralta

it seemed like we’d just been in some horrible dream OPEN
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Books

Philippe Despoix (ed.), Siegfried Kracauer, ...: The Past's Threshold

Mathias Denecke (ed.), Holger Kuhn (ed.), ...: Liquidity, Flows, Circulation

Sami Khatib (ed.), Holger Kuhn (ed.), ...: Critique: The Stakes of Form

Maria Zinfert (ed.): Kracauer. Fotoarchiv

Sebastián Eduardo Dávila (ed.), Rebecca Hanna John (ed.), ...: On Withdrawal—Scenes of Refusal, Disappearance, and Resilience in Art and Cultural Practices

The Moses complex’s place is exile.

Ute Holl

Introduction

The Moses complex is complex, because its topological space is differentiated as a relationship of ratios, resonances, and interferences.

The unkind and inhuman God of Moses in Exodus reveals himself as a terrifying media agent. This is why the Moses figure insistently returns in the arts and sciences of the twentieth century. It corresponds to the fact that the media initially remain concealed when new laws come in with them. When Moses climbs the mountain, the tablets on which the caesuras of writing will turn out to be there already, while the people are still camping in the desert,...

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