Emma Waltraud Howes
Questionnaire Emma Waltraud Howes
I.V. Nuss
The Love in the Convex, in Absolute Roundness and the Sluttification of All Men West of the Bosporus
Marie Glassl, Sophie Lewis
Surrogate Abolition
Sina Dell’Anno
Punk / Philology
Donatien Grau
A Life in Philology
Donatien Grau, James Spooner
Afropunk Philology
Johanna Went
I remember (Johanna Went)
Tom McCarthy
Toke My Asymptote – or, The Ecstatic Agony of Appearance
Barbara Basting
Der Algorithmus und ich 7
Mengia Tschalaer
Queer Spaces
Claire Fontaine
Towards a Theory of Magic Materialism
A. L. Kennedy
What is an Author?
Zoran Terzić
The Tautomaniac
Sandra Frimmel
I Hate the Avant-garde
Barbara Basting
Der Algorithmus und ich 6
Mehdi Belhaj Kacem
Tomb for Guy Debord
Johannes Binotto
Shrewing the Tame
Hans Block, Moritz Riesewieck
What we don’t see
Alexander García Düttmann
Cold Distance
Michael Heitz
Wong Ping’s "Who’s the Daddy"
Barbara Basting
Der Algorithmus und ich 5
Fritz Senn
Das Leben besteht aus gestrandeten Konjunktiven
Jochen Thermann
The Assistant Chef
Barbara Basting
Der Algorithmus und ich 4
Barbara Basting
Der Algorithmus und ich 3
Elena Vogman
Dynamography, or Andrei Bely’s Rhythmic Gesture
Maël Renouard
The Twilight of Classification?
Dieter Mersch
Digital Criticism
Tom Kummer
Questionnaire Tom Kummer
Artur Zmijewski
Conversation on “Glimpse”
Alexander García Düttmann
Can There Be a Society Without Ceremony or the Critical Question of Theatre
Jelili Atiku, Damian Christinger
Venice, Lagos, and the Spaces in between
Diane Williams
Bang Bang on the Stair
Hendrik Rohlf
Richard Prince (Book)
Beni Bischof
LISTMANIA: BIG BUGS
Tyler Coburn
Quaddie
On the first gaze the works of Emma Waltraud Howes seem incongruously out of time. Visiting her studio, one enters another world: meets mushrooms and corals, glass artichoke-hand grenades, the...
Nicole Bachmann’s latest work, I say, has the performer practice a text, sense a word in the mouth, calling it forth, and another, repeating, hearing, interrupting, and another, beginning again,...
The project space CORNER COLLEGE in Zurich’s 4th district has for some time now been giving invigorating impulses to both art and theory, and can be recommended to every visitor...
I got to know Tom Kummer in 2006 while editing his book Blow Up in nighttime telephone calls to Los Angeles. We met for the first time at the book...
We are looking for relics of visions of the future in past image spaces, for the traces and signatures of something once imaginable and timelessly possible.
The post I’m now sharing was somewhat unsettling: “Barbara joined Facebook 6 years ago!”
Vonceptually sensory bills of fare, enumerations and selections…
Raucous time capsules, rare jewels, and indispensable bulky goods from all epochs, languages, and genres.
My language
English
Selected content
English
»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.«
James Joyce
Dire works on the bogus regime—not just of art—but endowed with wit, beauty and irresistible fetish character.