Marie Glassl, Sophie Lewis
Surrogate Abolition
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
Sina Dell’Anno
Punk / Philology
Simon Critchley
Learning to Eat Time with One’s Ears
Donatien Grau
A Life in Philology
Dan-el Padilla Peralta
Junk Philology. An Anti-Commentary
Johanna Went
I remember (Johanna Went)
A. L. Kennedy
What is an Author?
Mengia Tschalaer
Queer Spaces
Zoran Terzić
The Grand Generalization
Tom McCarthy
Toke My Asymptote – or, The Ecstatic Agony of Appearance
Felix Stalder
Feedback as Authenticity
Barbara Basting
Der Algorithmus und ich 6
Mehdi Belhaj Kacem, Philippe Sollers
What is the Meaning of the Avant-garde’s Death?
Sandra Frimmel
I Hate the Avant-garde
Zoran Terzić
The Tautomaniac
Alexander García Düttmann
Cold Distance
Hans Block, Moritz Riesewieck
What we don’t see
Ines Kleesattel
Art, Girls, and Aesthetic Freedom Down Below
Jean-Luc Nancy
Zah Zuh
Helmut J. Schneider
How Distant Can My Neighbor be?
Barbara Basting
Der Algorithmus und ich 5
Stephen Barber
A War of Fragments: World Versus America
Manuel Franquelo
An interview with Manuel Franquelo
Nicole Bachmann
Questionnaire Nicole Bachmann
Jurij Pavlovich Annenkov
A Diary of my Encounters
Bruce Bégout
The Man from Venice
Mário Gomes
The Poetics of Architecture
Stephen Barber
Futurama Nights, October 1978
Tom Kummer
Questionnaire Tom Kummer
Blixa Bargeld
LISTMANIA: ABT. DIE DUEMMSTEN BERLINER FRISÖRNAMEN
Barbara Basting
Der Algorithmus und ich 7
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...
The post I’m now sharing was somewhat unsettling: “Barbara joined Facebook 6 years ago!”
Following Georges Perec’s Memory 480: "I remember… (to be continued…)"…
Raucous time capsules, rare jewels, and indispensable bulky goods from all epochs, languages, and genres.
…rather alarms, to truth to arm her than enemies, and they have only this advantage to scape from being called ill things, that they are nothings…
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.