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
Dan-el Padilla Peralta
Junk Philology. An Anti-Commentary
Donatien Grau, James Spooner
Afropunk Philology
Simon Critchley
Learning to Eat Time with One’s Ears
Dennis Cooper, Donatien Grau, Richard Hell
"I’d rather live in a book"
Tom McCarthy
Toke My Asymptote – or, The Ecstatic Agony of Appearance
Kai van Eikels
Do in What's Doing, Democracy in!
A. L. Kennedy
What is an Author?
Zoran Terzić
The Grand Generalization
Barbara Basting
Der Algorithmus und ich 7
Barbara Basting
Der Algorithmus und ich 6
Sandra Frimmel
I Hate the Avant-garde
Mehdi Belhaj Kacem
Tomb for Guy Debord
Lars von Trier in Conversation with Mehdi Belhaj Kacem & Raphaëlle Milone
Sina Dell’Anno
Oratio Soluta
Andreas L. Hofbauer
Yoke
Michael Heitz
Wong Ping’s "Who’s the Daddy"
Malte Fabian Rauch
Phenomena in Exile
Joseph Morder
Une Trinite de la Memoire
Barbara Basting
Der Algorithmus und ich 6
Damian Christinger, Monica Ursina Jäger
Homeland Fictions
Jean-Luc Nancy
Zah Zuh
Nicole Bachmann
Questionnaire Nicole Bachmann
Maël Renouard
The Twilight of Classification?
Dietmar Dath
Your Sprache Never Was
Stephen Barber
Futurama Nights, October 1978
Eric Baudelaire
Abecedarium
Mário Gomes
The Poetics of Architecture
Bruce Bégout
The Man from Venice
Barbara Basting
Der Algorithmus und ich 5
Beni Bischof
LISTMANIA: BIG BUGS
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!”
…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…
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.
L’œuvre d'art n’a pas d’idée, elle est idée
Externalized memory had always proceeded by contractions, summaries, reductions, selections, breaks in flow, as well as by organization, classification, boiling down. Card catalogues reduced thousands of works to a few key notions; tables of contents contracted the hundreds of pages in a given book. The sign itself was the first abbreviation of experience. An epic stitched of words was an abbreviation of the war, the long years of which were reduced to a few nights of recitation; the written text that recorded the epic was a contraction of the oral narration which pushed aside its sensory richness, melody, life in a thousand details. In accumulating, every level of abbreviation reconstituted an infinite flow, a new dilation that would be contracted in its turn. From the plurality of pages to the index and the table of contents; from the plurality of books to card catalogues.
The abbreviated elements were further arranged, situated...
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.