• abstrakte Kunst
  • Melancholie
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  • Siegfried Kracauer
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News + Veranstaltungen

Yves Netzhammer: Concave Thoughts
A visual parcours with books and animations

26.01.2017, 19:00

Dresdener Str. 118
10999 Berlin

»Es gibt ein ewiges Wesen des Theaters«: Vortrag von Alain Badiou

27.01.2017, 20:00

Akademie der Künste
Hanseatenweg 10
10557 Berlin

Die Sammlung (1987–2006) – Performance Chronik Basel – Band II

26.01.2017, 19:00

Burgweg 7
4058 Basel


The Moses complex derives its actuality from recalling the emergence of cultures as fields of mutually engendering relationships. From the perspective of media studies, which is a science of differential relationships between materialities and immaterialities, noises and messages, channels and signals, apparatuses and perceptions, the relationship to God or gods turns out to be one between people and their systems of thought. So media studies argues against fundamentalism, whether ontological, anthropological, or technicistic.

The figure of Moses is a decisive node...

  • Exil
  • Arnold Schönberg
  • Jean-Marie Straub
  • Danièle Huillet
  • Gemeinschaft

Rosi Braidotti

We need more planetary dimensions!

My life-long engagement in the project of nomadic subjectivity rests on a specific cartography of our globalised times, marked by large-scale and technologically-mediated transformations of our social, economic and political universes. I start from the assumption that, as a result of these upheavals, traditional forms of self-representation, familiar cultural points of reference and age-old habits of thought are being re-composed, albeit in contradictory ways.

Our historical context is marked by the schizoid structure of technology-driven advanced capitalism, as Deleuze and Guattari lucidly put it. Examples of the non-linear and internally contradictory ways of the working of this system are the vast accumulation of wealth alongside growing disparities in income, well-being and access to the very technologies that sustain our economy. Another example is the paradox of a world economy linked by a thick web of transnational flows of capital and labour, which functions through different forms and speeds of mobility, including internal and external flows of migration. It also translates, in socio-economic terms, in the state of so-called flexibility of a large proportion of the working force. Interim, untenured, part-time, sub-standard, underpaid work has become the norm in most advanced liberal economies. The universities and the research world are far from immune from this fragmentation and exploitative approach. This negative and exploitative brand of capitalist flexibility induces the fracture of life-long careers or professions, offering little compensation in return.

The precariousness of actual work conditions makes for social instability, transitory citizens and...


    Fortlaufender Glossar des Vorstellbaren

  • Eine Carte Blanche für Künstler, Autoren, Denker, einen Leerraum zu besetzen und eine Atempause zu markieren.

  • Essay

    Versuchen, was das sein könnte, seit Montaigne noch immer.

  • Tausend Wörter

    Auf der Suche nach einer Werkform in der einzigen Verdichtung auf die Exaktheit einer Zahl: 1000 Wörter
Archäologien von Gewalt
  • Wissen-Nicht-Wissen

    • Epistemologie
    • Müßiggang
    • Poetik
    • Poetologie des Wissens
    • Nicht-Wissen
    • Staunen
    • Potentialität
    • Experiment
    • Literaturwissenschaft
    • Wissensgeschichte
  • Halluzinatorische Chroniken New Yorks

    Reportagen, Fiktionen, Wirklichkeiten der Hauptstadt des 20. Jahrhunderts

    • Reportagen
    • Noir
    • USA
    • New York
    • Atomzeitalter
  • minima oeconomica

    Analysen und Kritik moderner Ökonomie, deren Wissenschaft und Legitmation im Zeitalter der Finanzialisierung

    • Finanzmärkte
    • Finanzkrise
    • Ökonomie
    • Wirtschaft
    • Ökonomisierung
    • Diskursgeschichte
  • Kunst, Medien, Körper

    Medien des Körpers, Körper der Medien

    • Digitale Medien
    • Gender
    • Medien der Kommunikation
    • Medien des Sozialen
    • Körper
    • Kunst

Maria Zinfert

“With a woman like that you can even live in ­Berlin”

  • 1930er Jahre
  • 1950er Jahre
  • Siegfried Kracauer
  • Biographie
  • Fotografische Bilder
  • Sammlung
  • Archiv
  • Porträt
  • Paris
  • Fotografie
  • Exil
  • Geschichte der Fotografie
  • 20. Jahrhundert



We  identified ‘showing’—rather than ‘saying’—as the primary self-manifestation of the aesthetic. By ‘showing’ and ‘manifestation’ we do not mean expression, but exhibition and exposition. Wherever works work only with aisthēta and relevance is drawn from perceptions or things and their materiality—from every nuance of coloring, from the way in which objects are framed or combined, from the position of a detail, from the interval between two notes and their microtonal succession or arrhythmic placement, from any hesitation of physical feeling,...

  • Denkt Kunst
  • Künstlerische Forschung
  • Diskursanalyse
  • Epistemologie
  • Ästhetik

Alain Badiou

The artist is the neutral element

1. Art is not the sublime descent of the infinite into the finite abjection of the body and sexuality. On the contrary, it is the production of an infinite subjective series, through the finite means of a material subtraction.


2. Art cannot merely be the expression of a particularity (be it ethnic or personal). Art is the impersonal production of a truth that is addressed to everyone.

3. Art is the process of a truth, and this truth is always the truth of the sensible or sensual, the sensible qua sensible. This means: the transformation of the sensible into an happening of the Idea.

4. There is necessarily a plurality of arts, and however we may imagine the ways in which the arts might intersect there is no imaginable way of totalising this plurality.

5. Every art develops from an impure form, and the progressive purification of this impurity shapes the history both of a particular artistic truth and of its exhaustion.

6. The subjects of an artistic truth are the works which compose it.

7. This composition is an infinite configuration, which in our own contemporary artistic context is a generic totality.

8. The real of art is ideal impurity conceived through the immanent process of its purification. In other words, the raw material of art is determined by the contingent inception of a form. Art is the secondary formalisation of the advent of a hitherto formless form.

9. The only maxim of contemporary art is: do...

  • Kunst
  • Alain Badiou
  • Kunstwerk
  • Ästhetik
  • Gegenwartskunst

Susanne Witzgall

Can we be too fragile for real contact?

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 to briefly speak about this text and how it came to inform the project I had undertaken, because when I was invited by the French Ministry of Culture and the subsidiary parastatal called Delegation aux Arts plastiques to take on the Paris Triennale, my brief was to create an exhibition about the French artistic scene. And I thought I might be the most unqualified person to take on such an exhibition, because that was in itself an invitation of exploration, of incursion, of really travelling to out-France and find native...




Wenn im Theater der Vorhang aufgeht, sollte der Zuschauer gleich sehen, wo das Stück spielt, wovon es handelt, was der Autor erzählen will. Exponierender Dialog, Dekoration, Beleuchtung und andere Theatermittel geben ihm Orientierung. Können, Geschmack und Erfahrung des Autors sieht der ungeduldige Zuschauer, sobald der Vorhang aufgeht.
Als alter Theaterhase beginne ich dieses Buch – Vorhang auf – mit einem Prolog in der Art des mittelalterlichen »Docteur Prolocuteur« und ignoriere einfach den Unterschied, den es zwischen der Wahrnehmung einer Theatervorstellung...

  • Theaterwissenschaft
  • Theater
  • Reenactment
  • Performance



Towards the end of Thomas Pynchon’s mammoth 1973 novel Gravity’s Rainbow, the stumbling ingénue of a hero Tyrone Slothrop sets off on a commando raid. The territory he and his cohorts move through is a giant ­metropolis, a “factory-state” in which capital, technology and power, perfectly co-calibrated, send airships drifting through urban canyons, past chrome caryatids and roof-gardens on skyscrapers that themselves shoot up and down on ­elevator-cables: a conurbation ­Pynchon calls the “City of the Future” or “Raketen-Stadt.” The...

  • Literaturwissenschaft
  • Moderne
  • Literatur
  • Fiktion
  • Gespräch

Mário Gomes

Über literarische Sprengkraft

Kaum etwas setzt schneller Rost an als Kriegsgerät und Literatur. Da nützt weder Pflege noch Wartung, am besten ist es, man lässt das Material einrosten und rüstet derweil am anderen Ende nach, erweitert Bestände, feilt an Technologien und poliert vor allem die Oberflächen auf Hochglanz, bzw. man nimmt den einfachen Weg und lässt eine Glanzschicht auftragen – einen feinen, seidenen Film –, denn so geht das heutzutage: man trägt auf. Dieser chemische Glanz der Panzer und Bücher kommt von der Sprühdose. Er hält allerdings nicht lange, sondern schwindet, sobald das Auge sich abwendet, und das Auge wendet sich schnell ab. Wo der Blick dann aber als nächstes hin eilt, glitzert und funkelt es wieder: bei jeder Militärparade wie bei jeder Buchmesse.

Dieser Glanz ist jedoch bei weitem nicht das einzige, was Krieg und Literatur verbindet. Ihre Verknüpfungen sind vielfältig und verworren. Wo Gewalt aufhört und das Schriftzeichen anfängt, ist selten klar, denn Krieg und Literatur stehen nicht etwa in einem Verhältnis der Affinität, sondern in einem der Spannung und Überlagerung, was letztlich auch erklärt, weshalb einem Clausewitz sehr viel mehr über Literatur zu entnehmen ist als dem Gesamtbestand literaturwissenschaftlicher Publikationen. Wer die Ilias gelesen und Heraklit noch nicht vergessen hat, versteht, was gemeint ist. Der Vater aller Literaturen ist der Krieg – oder meinetwegen die Gewalt –, alles andere dagegen ist Sand, den man der geneigten Leserschaft in die Augen streut, Sand, der aus den Büchern regelrecht herausrieselt, wenn man nur...


Juliane Rebentisch

Wherefore art?

The debate on realism has always closely tied the notion of artistic progressiveness to the question of how artistic production relates to its social and cultural outside. To isolate considerations of formal creation from art’s reference to that outside is to bid farewell to the project of realism. For unlike such formalism, realism is by definition impure. It is always already open to an ethical, political, and epistemic demand: realism – as a stance, a project, a production – requires fidelity; fidelity, that is, to a reality that needs to be done justice in ethical, political, and epistemic terms. Realism attests to reality; it does not engender it. This implies that those who commit themselves to the realist project, and hence to fidelity to reality, must be the contemporaries of this reality. On the other hand, the realist project amounts to more than a positivist or automatic registration of something already given. Realism thus opposes formalism, but it does not necessarily oppose abstraction.

The relation of art to its social outside cannot be dissociated from questions of representation. For realistic art renders an image of reality. This means that the relationship between realism and reality is dialectical: the image of reality does not exist before realistic representation; but what is represented is still considered to be a given, however latent, or else the representation would not be realistic. The project of realism brings forth, makes visible – realizes – what is given as reality. Now...

  • Kunst
  • Aktivismus
  • Gegenwartskunst
  • Politik
  • Gemeinschaft



While about to finish her last book, the philosopher Hannah Arendt is disturbed by her stubborn alter ego, 9-year-old Little Hannah. Reluctantly, the old woman lets herself drag out onto the streets of New York and into constant conversation by the inquisitive little girl. They enter a little theatre, and together they watch mankind, society, politics, power evolve – and they also experience the role of Evil (in the person of a wolf and of numerous wooden puppets) and its...

  • Denken
  • Ethik
  • Junge Leser
  • Handeln
  • Das Böse