Emma Waltraud Howes
Questionnaire Emma Waltraud Howes
Marie Glassl, Sophie Lewis
Surrogate Abolition
I.V. Nuss
The Love in the Convex, in Absolute Roundness and the Sluttification of All Men West of the Bosporus
Dennis Cooper, Donatien Grau, Richard Hell
"I’d rather live in a book"
Simon Critchley
Learning to Eat Time with One’s Ears
Sina Dell’Anno
Punk / Philology
Johanna Went
I remember (Johanna Went)
Zoran Terzić
The Grand Generalization
Claire Fontaine
Towards a Theory of Magic Materialism
Barbara Basting
Der Algorithmus und ich 7
Felix Stalder
Feedback as Authenticity
A. L. Kennedy
What is an Author?
Malte Fabian Rauch
Where the Negative Holds Court
Sandra Frimmel
I Hate the Avant-garde
Barbara Basting
Der Algorithmus und ich 6
Mehdi Belhaj Kacem, Philippe Sollers
What is the Meaning of the Avant-garde’s Death?
Hans Block, Moritz Riesewieck
What we don’t see
Barbara Basting
Der Algorithmus und ich 8
Alexander García Düttmann
Cold Distance
Andreas L. Hofbauer
Yoke
Helmut J. Schneider
How Distant Can My Neighbor be?
Barbara Basting
Der Algorithmus und ich 7
Jean-Luc Nancy
Zah Zuh
Barbara Basting
Der Algorithmus und ich 6
Dietmar Dath
Your Sprache Never Was
Elena Vogman
Dynamography, or Andrei Bely’s Rhythmic Gesture
Maël Renouard
The Twilight of Classification?
Barbara Basting
Der Algorithmus und ich 3
Rolf Bossart, Milo Rau
On Realism
Artur Zmijewski
Conversation on “Glimpse”
Alexander García Düttmann
Can There Be a Society Without Ceremony or the Critical Question of Theatre
Mário Gomes
The Poetics of Architecture
Eric Baudelaire
Abecedarium
Barbara Basting
Der Algorithmus und ich 4
Discoteca Flaming Star
Ich erinnere mich… (Discoteca Flaming Star)
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...
Vonceptually sensory bills of fare, enumerations and selections…
The post I’m now sharing was somewhat unsettling: “Barbara joined Facebook 6 years ago!”
L’œuvre d'art n’a pas d’idée, elle est idée
Following Georges Perec’s Memory 480: "I remember… (to be continued…)"…
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.