Kai van Eikels
Do in What's Doing, Democracy in!
Feedback as Authenticity
The Grand Generalization
Toke My Asymptote – or, The Ecstatic Agony of Appearance
Der Algorithmus und ich 7
I Hate the Avant-garde
Mehdi Belhaj Kacem
Tomb for Guy Debord
Malte Fabian Rauch
Where the Negative Holds Court
Michael Heitz, Hendrik Rohlf
Uma’s Face—Thurman’s Voice
Shrewing the Tame
Art, Girls, and Aesthetic Freedom Down Below
Hans Block, Moritz Riesewieck
What we don’t see
Das Leben besteht aus gestrandeten Konjunktiven
Don Quixote lisant
Helmut J. Schneider
How Distant Can My Neighbor be?
Une Trinite de la Memoire
Maria Filomena Molder
The Alms of Time
Elapsing Time and Belief in the World
The Twilight of Classification?
Questionnaire Nicole Bachmann
Alexander García Düttmann
Can There Be a Society Without Ceremony or the Critical Question of Theatre
Futurama Nights, October 1978
The Man from Venice
The Poetics of Architecture
LISTMANIA: ABT. DIE DUEMMSTEN BERLINER FRISÖRNAMEN
Donatien Grau, Pierre Guyotat
DIAPHANES is collecting lists: conceptually sensory bills of fare, enumerations and selections in the serenely fatal undertaking of classifying an unclassifiable present, of orienting ourselves through the stringing together of self-determined entries. The freely associated registers (including unequal and redundant items) are a call to attention or simply the excursive (as every list is potentially infinitely long or short) inventory of taste or consciousness.
¡ Wenn sie im Flugzeug freie Plätze sehen, dann nicht darum prügeln !
¡ Auf gar keinen Fall darf...
Cumulus tuba ;
Cirrus cumulonimbogenitus ;
mother-of-pearl cloud ;
Altocumulus translucidus ;
Not on any Knowlede’s service this register in progress seeks accumulating entries of imagenables: names, objects, imaginations… singularities, that neither have to be thought nor upon which must be speculated.
Following Georges Perec’s Memory 480: "I remember… (to be continued…)"…
L’œuvre d'art n’a pas d’idée, elle est idée
The post I’m now sharing was somewhat unsettling: “Barbara joined Facebook 6 years ago!”
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.
»Ineluctable modality of the visible: at least that if no more, thought through my eyes. Signatures of all things I am here to read, seaspawn and seawrack, the nearing tide, that rusty boot. Snotgreen, bluesilver, rust: coloured signs. Limits of the diaphane. But he adds: in bodies. Then he was aware of them bodies before of them coloured. How? By knocking his sconce against them, sure. Go easy. Bald he was and a millionaire, MAESTRO DI COLOR CHE SANNO. Limit of the diaphane in. Why in? Diaphane, adiaphane. If you can put your five fingers through it it is a gate, if not a door. Shut your eyes and see.
Rhythm begins, you see. I hear. Acatalectic tetrameter of iambs marching. No, agallop: DELINE THE MARE.
Open your eyes now. I will. One moment. Has all vanished since? If I open and am for ever in the black adiaphane. BASTA! I will see if I can see.
See now. There all the time without you: and ever shall be, world without end.«
Dire works on the bogus regime—not just of art—but endowed with wit, beauty and irresistible fetish character.