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
Dennis Cooper, Donatien Grau, Richard Hell
"I’d rather live in a book"
Sina Dell’Anno
Punk / Philology
Donatien Grau
A Life in Philology
Donatien Grau, James Spooner
Afropunk Philology
Dan-el Padilla Peralta
Junk Philology. An Anti-Commentary
Tom McCarthy
Toke My Asymptote – or, The Ecstatic Agony of Appearance
Kai van Eikels
Do in What's Doing, Democracy in!
Zoran Terzić
The Grand Generalization
Claire Fontaine
Towards a Theory of Magic Materialism
A. L. Kennedy
What is an Author?
Sandra Frimmel
I Hate the Avant-garde
Barbara Basting
Der Algorithmus und ich 6
Zoran Terzić
The Tautomaniac
Mehdi Belhaj Kacem, Philippe Sollers
What is the Meaning of the Avant-garde’s Death?
Fritz Senn
Das Leben besteht aus gestrandeten Konjunktiven
Barbara Basting
Der Algorithmus und ich 7
Axel Dielmann
The Dressmaker
Barbara Basting
Der Algorithmus und ich 5
Barbara Basting
Der Algorithmus und ich 6
Barbara Basting
Der Algorithmus und ich 5
Damian Christinger, Monica Ursina Jäger
Homeland Fictions
Barbara Basting
Der Algorithmus und ich 7
Michele Pedrazzi
The Next Bit. Corpo a corpo con l’ignoto
Dietmar Dath
Your Sprache Never Was
Dieter Mersch
Digital Criticism
Nicole Bachmann
Questionnaire Nicole Bachmann
Barbara Basting
Der Algorithmus und ich 3
Emma Waltraud Howes
Questionnaire Emma Waltraud Howes
Artur Zmijewski
Conversation on “Glimpse”
Diane Williams
Bang Bang on the Stair
Alexander García Düttmann
Can There Be a Society Without Ceremony or the Critical Question of Theatre
Mário Gomes
The Poetics of Architecture
Barbara Basting
Der Algorithmus und ich 7
Ute Holl
Dream, Clouds, Off, Exile
Pierre Guyotat
Autoportrait
Luc Meresma
Capt. Norman MacMillan (Book)
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...
L’œuvre d'art n’a pas d’idée, elle est idée
The post I’m now sharing was somewhat unsettling: “Barbara joined Facebook 6 years ago!”
Vonceptually sensory bills of fare, enumerations and selections…
…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…
I Hate the Avant-Garde. When an artist as self-ironic and self-reflective as Yuri Albert makes such a statement about art, then skepticism is called for. Like his overall series Elitist-Democratic Art, the title deliberately plays with simple affirmations and negations, and at the same time exhibits the inherent receptive dilemma of the series: a (large) part of the artistically trained viewers see these shorthand works as abstract forms, without understanding the text, and only the few who can read (Russian) shorthand perceive a text, which for them doesn’t necessarily have to be art. I Hate the Avant-Garde was created in 2017, after a sketch made in 1987 in reaction to a changed situation in the reception of nonconformist art. With the beginning of perestroika, unofficial art that had hitherto been excluded from the state-run art scene—that is, from the official infrastructure of museums and exhibition spaces, and from art scholarship...
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.