Ξένος extraneus του έξω όχι του μέσα (intraneus) όχι της οικίας unheimlich όχι του heim όχι της εστίας της άλλης πλευράς της πόρτας – fores, foreigner όχι υπερβολικά στον ρυθμό, odd όχι κανονικός όχι συνήθης σπάνιος ιδιάζων seltsam παράξενος besherat γενναίος κομψός απρόβλεπτος στραβός verschroben

λοξός αναπάντεχος εξαιρετικός εκπληκτικός

Είναι εκπληκτικό πόσες λέξεις εκφράσεις τρόπους διαφορετικούς έχουμε για να μιλήσουμε για τον παράξενο ξένο τον ausländer τον έξω από τη χώρα και όχι «pays avec nous» όπως λέγαμε κάποτε στη Γαλλία «c’est un pays à moi» για να πούμε κάποιος από το χωριό μου τη γειτονιά μου την περιοχή μου την πατρίδα μου

Etrange (غریب) در زبان فرانسوی از ریشه لاتین extraneus به معنای «خارجی» در برابر داخلی intraneus است. آنچه از خانه نیست unheimlich (امر غریب) از heim (خانه) نیست از منزل نیست در طرف دیگر دروازه fores است foreigner (خارجی)، خارج از ضرب و زیادی است odd (زاید) ناهنجار نامعمول نادر کمیاب تکی است seltsam (عجیب) عجیب و غریب besherat رشید ظریف پراوهام خمیده‌‌ verschroben (بد خو) خمیده شگفت‌ آور خارق‌ العاده حیرت‌ انگیز

غنای زبان امری غریب است در کلماتی که به نحوی حولِ مفهومِ غریبِ خارجی ausländer شکل گرفته اند خارج از کشور «هم‌‌ کشور ما» همانگونه  که پیش‌ تر در فرانسه می‌ گفتیم «این کشور من است» برای اشاره به کسی از روستای من محله‌ ی من استان من ولایت من

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:...

Pretending one more time that the world can still be saved and asking whether art contains an emancipatory potential can be a meaningful endeavour only if illegitimate attempts at appropriating this emancipatory potential are thwarted. Its usurpation, which amounts to its abolition, must be prevented. Critique that deserves its name must first and foremost struggle against false pretenders, not against those who do not even claim to be pretenders. The efficiency of critique’s propaedeutic character should be sought in this struggle against false pretenders. If one fears that its negativity may entail a dangerous impotence and if for this reason one wishes to supplement it with a justifying and constructive “affirmationism”, mindful of the fact that it was once meant to prepare the outline of a metaphysics purged of precritical dogmatism, then one risks forgetting that critique ceases to hurt and can no longer trigger an impulse the instant that...

• morals
• aesthetics
• political aesthetics
• critical theory
• contemporary art

• subjectification
• art history
• painting
• gender
• gaze
• feminism
• body

Successful asylum claims generally require generating a racialist, colonialist discourse that impugns the nation-state from which the asylum seeker comes. While to impugn the asylum seeker’s place of origin may well be a necessity for the purpose of asylum, it is problematic if it serves to confirm the moral and political superiority of the West through the myth of the ideal victim. In order to avoid the cookie-cutter victimhood framework that refers to idealizations around “Us” and “Them,” Europe must adopt a reflexive approach to queer asylum that allows for recognizing its own stereotypes in regard to homosexuality, race, and gender, so as not to reproduce colonial and imperialistic narratives of vulnerability, sex, and desire through Eurocentric asylum regimes.

• gender
• identity
• queer theory
• migration
• performativity

I Hate the Avant-Garde. When an artist as self-ironic and self-reflective as Yuri Albert makes such a statement about art, then skepticism is called for. Like his overall series Elitist-Democratic Art, the title deliberately plays with simple affirmations and negations, and at the same time exhibits the inherent receptive dilemma of the series: a (large) part of the artistically trained viewers see these shorthand works as abstract forms, without understanding the text, and only the few who can read (Russian) shorthand perceive a text, which for them doesn’t necessarily have to be art. I Hate the Avant-Garde was created in 2017, after a sketch made in 1987 in reaction to a changed situation in the reception of nonconformist art. With the beginning of perestroika, unofficial art that had hitherto been excluded from the state-run art scene—that is, from the official infrastructure of museums and exhibition spaces, and from art scholarship...

• democracy
• avant-garde
• writing