DIAPHANES is collecting lists: conceptually sensory bills of fare, enumerations and selections in the serenely fatal undertaking of classifying an unclassifiable present, of orienting ourselves through the stringing together of self-determined entries. The freely associated registers (including unequal and redundant items) are a call to attention or simply the excursive (as every list is potentially infinitely long or short) inventory of taste or consciousness.
1. Tell the Earth, “I love you. I can’t live without you."
2. At first you may feel embarrassed...
1 Luminous Procuress
3 Brass Canon
4 Mexican Tea Party
6 New Earth
…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…
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.
Raucous time capsules, rare jewels, and indispensable bulky goods from all epochs, languages, and genres.
Following Georges Perec’s Memory 480: "I remember… (to be continued…)"…
I have rarely left the Biennale so dissatisfied and tired as this year. No, it wasn’t the endless kilometers.
“This self-portrait is dated March 1962. I had returned from a mission as radioman..."
L’œuvre d'art n’a pas d’idée, elle est idée
Between the Madness and the Wisdom of Crowds
Human Terrain System
Inge Baxmann (ed.), Timon Beyes (ed.), Claus Pias (ed.)
Social Media—New Masses
Mad Men not only speaks about the history of war that weighs on the cultural memory of America, but also recalls how we continue to be haunted by the images of this national violence as well.
Mad Men makes use of personalized war remembrances, regardless whether they cannot or must not be forgotten, to negotiate the collective haunting of the nation. These war stories make up a shared cultural space that includes everyone, even while it also constitutes a consecutive series. If the founding of America was predicated on a war of independence, its subsequent history, punctuated as it is with further wars, finds, in the 1960s, a logical continuation of this violent struggle for self-definition in the war in South-East Asia. The notion of historical re-imagination negotiated in Mad Men thus also speaks to the repetition compulsion inscribed in America’s military interventions.
A continuation of war in peacetime, however, also surfaces in the way that military jargon (and indeed military codes of conduct) not only informs the work environment at Sterling Cooper, but also helps shape the competition amongst the agencies on Madison Avenue. Early...
After all, the history of modern and contemporary art can be read as the progressive inclusion of a growing part of the formless into apparatuses.
Photographs evoke a response in which our sense of beauty and our desire for knowledge interpenetrate.
Kerstin Stakemeier: I would love to start by taking up what Claire was saying about the figure of the intruder and about intrusion and asking how you, Okwui and Sarah would respond to that, how you would reflect it back on to both of your contributions.
Okwui Enwezor: I think the encapsulation of this discussion in terms of the relationship between the intruder and hospitality is so perfect and apt because it is only in that context that the question of an unsettling disturbance arises. I think that intrusion has a force to it – a force that also provokes recognition and I think it is in that space of recognition that the debates about fragility can really happen. And I am very grateful that you brought this up, Claire. Of course, in my text there is a longer passage about Derrida, about hospitality, which relates precisely to this. I want...