The project of feminist nomadism for a European thinker implies a relationship to multiple languages.
ZHdK – Zürcher Hochschule der Künste
Werner Busch (ed.), Carolin Meister (ed.)
Beate Fricke (ed.), Urte Krass (ed.)
The Public in the Picture / Das Publikum im Bild
Claudia Blümle (ed.), Anne von der Heiden (ed.)
Blickzähmung und Augentäuschung
Carolin Meister (ed.), Dorothea von Hantelmann (ed.)
It was Gilles Deleuze who in various contexts underlined that what we most lacked was “belief in the world.” The odd remark appears, for example, in a conversation in 1990 with the Italian Marxist Antonio Negri about revolutionary emergence and the political force of minorities. In this dialogue Negri examines his interlocutor’s thought in the light of the “problem of the political,” which connects the various stages of the philosopher’s intellectual biography. Deleuze’s remark here is the reprise of a motif that would be familiar to readers of his second book on cinema, which appeared in 1985, in which Deleuze contends that the “power of modern cinema” is based on its ability to “give us back” our lost “belief in the world.”
At the end of the conversation Negri asks his dialogue partner about the possibility of present-day processes of subjectivization. After initially emphasizing the “rebellious spontaneity” of such processes, Deleuze...
The Moses complex is complex, because its topological space is differentiated as a relationship of ratios, resonances, and interferences.
How dance performance may be seen as the place of the Other, as a “space” in which “something happens”?
In Le Roy’s Sacre the audience is not an “audience” in the sense of a closed unity; not an audience as a multitudinous communal body that is positioned opposite the “body” of performers (orchestra/ballet) of a performance of Le Sacre du printemps. The other side, the opposite is inverted the moment Le Roy – back on stage with his back to the audience – turns around to face it and, imitating a conductor’s movements, treats it as an orchestra, as if he were standing face to face with the various groups of musicians to whom he was giving cues. At his moment of turning the unities of the normal performance set-up collapse, and the conventions of representation are shaken. This theatrical “as if” – Le Roy conducting the audience as a fictitious orchestra – points once again to the aesthetic negativity of this process. The gaze – the gaze back, from the stage into the...
It is better to do nothing than to contribute to the invention of formal ways of rendering visible that which Empire already recognises as existent.
1. Art is not the sublime descent of the infinite into the finite abjection of the body and sexuality. On the contrary, it is the production of an infinite subjective series, through the finite means of a material subtraction.
2. Art cannot merely be the expression of a particularity (be it ethnic or personal). Art is the impersonal production of a truth that is addressed to everyone.
3. Art is the process of a truth, and this truth is always the truth of the sensible or sensual, the sensible qua sensible. This means: the transformation of the sensible into an happening of the Idea.
4. There is necessarily a plurality of arts, and however we may imagine the ways in which the arts might intersect there is no imaginable way of totalising this plurality.
5. Every art develops from an impure form, and the progressive purification of this impurity shapes the history both of...