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Each showroom has a couple of “managers”.
Each showroom has a couple of “managers”.

Present.Perfect.

After her directorial debut, Out Of Focus (2014), and her much accoladed Another Year (2016), a three-hour film about thirteen evening meals taken by a family of migrant workers in China, the Chinese documentary filmmaker Shengze Zhu—co-founder of the production company Burn The Film—spent hundreds of hours with live-streamers for her most recent work, Present.Perfect. From her recorded footage she created a narrative in four chapters without additionally filmed material. The protagonists of the film talk about their daily routines,...
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  • identity
  • social media
  • mass media
  • subjectification
  • digital culture
Current Texts

Jean-Luc Nancy

Ζένοι και Zah και Zuh

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

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Current Texts

Mengia Tschalaer

The sexual asylum story

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.

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  • gender
  • performativity
  • identity
  • migration
  • queer theory

Internationale Tagung: Datennaturen

06.03.2020, 17:30 – 07.03.2020

Kunstraum Walcheturm
Kanonengasse 20
8004 Zürich
Schweiz

Buchpräsentation: »Manifest der Künstlerischen Forschung«

20.02.2020, 19:00

Theater Neumarkt
Neumarkt 5
8001 Zürich
Schweiz

 

Topics
  • Color and meaning

    Color and meaning

    Who is afraid of Red, Yellow, Blue…?

    • semiotics and semiology
    • monochrome
    • image and imagery
    • chromatics / colour science
    • color
  • Wissen-Nicht-Wissen

    Wissen-Nicht-Wissen

    • literary studies
    • ignorance and non-knowledge
    • poetology of knowledge
    • astonishment
    • idleness
    • potentiality
    • history of knowledge
    • experiment
    • poetics
    • epistemology
  • THINK ART? THINK ART!
  • Genealogies of violence

    Genealogies of violence

    • ethics
    • colonialism
    • religion
    • civil war
    • war
    • aniconism
    • anxiety
    • violence
    • archaeology
Current Texts

Alexander García Düttmann

What does “emancipatory” mean today?

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...

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

 

Epistemologies, Aesthetics, Politics
Epistemologies, Aesthetics, Politics

Marie-Luise Angerer (ed.), Bernd Bösel (ed.), ...

Timing of Affect

For many years now, the time of affect has been a major issue in the humanities, sciences, art and media. Affect stands here for feelings, emotions, processes of affection, for movements of the bodies, for a missing time – with one word: for a broad range of ideas and discursive contexts and histories. Timing of Affect assembles contributions from different disciplines – from philosophy to film, music, sound, media and art, through to technology, computation and neurology – to explore...
  • epistemology
  • media theory
  • aesthetics
  • body
  • affects
Current Texts

Andreas L. Hofbauer

The yoke of being, noteworthy dis-position

It wasn’t nature and its dangers that forced domestication and enabled the economic shrine. Temple and funerary cult, sacrifice and distribution of the meat—for Homer all sacrificial animals were still hieria, holy creatures—and the containment of wildness led to symbolic and socio-cultural change, which became the vector and motor of sedentary, food-producing communities. It wasn’t sheep, goats, or cattle that were domesticated first; it was the zoon logon echon itself that bowed to the self-created yoke of the cult. Why, we don’t know. Beyond this it’s important that unlike plants only very few species of animal can be domesticated, and that this shouldn’t be confused with taming. Economic significance develops as an epiphenomenon. It transforms from possible human sacrifice to animal sacrifice to the distribution of meat in early “Greek” antiquity, then to the obeloi (skewers with varying amounts of meat, as tokens for the priests’ or judges’ portion; even...

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  • anthropology
  • ethnology
  • economization
  • money
Current Texts

Sandra Frimmel

Why should this be art?

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...

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  • democracy
  • writing
  • avant-garde