I.V. Nuss
The Love in the Convex, in Absolute Roundness and the Sluttification of All Men West of the Bosporus
Emma Waltraud Howes
Questionnaire Emma Waltraud Howes
Marie Glassl, Sophie Lewis
Surrogate Abolition
Dennis Cooper, Donatien Grau, Richard Hell
"I’d rather live in a book"
Sina Dell’Anno
Punk / Philology
Johanna Went
I remember (Johanna Went)
Tom McCarthy
Toke My Asymptote – or, The Ecstatic Agony of Appearance
Zoran Terzić
The Grand Generalization
Mengia Tschalaer
Queer Spaces
A. L. Kennedy
What is an Author?
Felix Stalder
Feedback as Authenticity
Mehdi Belhaj Kacem, Philippe Sollers
What is the Meaning of the Avant-garde’s Death?
Zoran Terzić
The Tautomaniac
Mehdi Belhaj Kacem
Tomb for Guy Debord
Johannes Binotto
Shrewing the Tame
Fritz Senn
Das Leben besteht aus gestrandeten Konjunktiven
Hans Block, Moritz Riesewieck
What we don’t see
Sina Dell’Anno
Oratio Soluta
Barbara Basting
Der Algorithmus und ich 5
Joseph Morder
Une Trinite de la Memoire
A.K. Kaiza
An Annotated History of Wakanda
Damian Christinger, Monica Ursina Jäger
Homeland Fictions
Dietmar Dath
Your Sprache Never Was
Manuel Franquelo
An interview with Manuel Franquelo
Jelili Atiku, Damian Christinger
Venice, Lagos, and the Spaces in between
Eric Baudelaire
Abecedarium
Jurij Pavlovich Annenkov
A Diary of my Encounters
Bruce Bégout
The Man from Venice
Alexander García Düttmann
Can There Be a Society Without Ceremony or the Critical Question of Theatre
Stephen Barber
I remember (Stephen Barber)
Blixa Bargeld
LISTMANIA: ABT. DIE DUEMMSTEN BERLINER FRISÖRNAMEN
Dorothee Scheiffarth
THE MOST BEAUTIFUL CLOUD NAMES
Andreas Reihse
LISTMANIA: GUANAJUATONOVIEMBRE
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.
Vonceptually sensory bills of fare, enumerations and selections…
Not on any Knowlede’s service this register in progress seeks accumulating entries of imagenables: names, objects, imaginations… singularities, that neither have to be thought nor upon which must be speculated.
…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.