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
Donatien Grau, James Spooner
Afropunk Philology
Johanna Went
I remember (Johanna Went)
Simon Critchley
Learning to Eat Time with One’s Ears
Zoran Terzić
The Grand Generalization
Kai van Eikels
Do in What's Doing, Democracy in!
Felix Stalder
Feedback as Authenticity
Barbara Basting
Der Algorithmus und ich 7
Claire Fontaine
Towards a Theory of Magic Materialism
Mehdi Belhaj Kacem
Tomb for Guy Debord
Mehdi Belhaj Kacem, Philippe Sollers
What is the Meaning of the Avant-garde’s Death?
Barbara Basting
Der Algorithmus und ich 6
Michael Heitz
Wong Ping’s "Who’s the Daddy"
Barbara Basting
Der Algorithmus und ich 6
Alexander García Düttmann
Cold Distance
Axel Dielmann
The Dressmaker
Johannes Binotto
Shrewing the Tame
Barbara Basting
Der Algorithmus und ich 5
Fritz Senn
Das Leben besteht aus gestrandeten Konjunktiven
Zoran Terzić
Political Transplants
Michele Pedrazzi
The Next Bit. Corpo a corpo con l’ignoto
Nicole Bachmann
Questionnaire Nicole Bachmann
Stephen Barber
A War of Fragments: World Versus America
Emma Waltraud Howes
Questionnaire Emma Waltraud Howes
Dieter Mersch
Digital Criticism
Rolf Bossart, Milo Rau
On Realism
Jurij Pavlovich Annenkov
A Diary of my Encounters
Tom Kummer
Questionnaire Tom Kummer
Diane Williams
Bang Bang on the Stair
Artur Zmijewski
Conversation on “Glimpse”
Dorothee Scheiffarth
THE MOST BEAUTIFUL CLOUD NAMES
Hendrik Rohlf
Richard Prince (Book)
Barbara Basting
Der Algorithmus und ich 3
Pierre Guyotat
Autoportrait
John Donne
Paradox I
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.
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…
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.