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Art

How can withdrawal be represented?

Sebastián Eduardo Dávila (ed.), Rebecca Hanna John (ed.), ...

On Withdrawal—Scenes of Refusal, Disappearance, and Resilience in Art and Cultural Practices

Constellations of different instances of withdrawal, ranging from passivity, failure, and refusal to disappearance and remembrance and to resilience and resistance.

How can withdrawal—meaning either that which withdraws itself, or which is being withdrawn—be represented, thus made visible and negotiable? This publication takes this paradox as its starting point, which remains present as a tension throughout. The book aims to draw constellations of different instances of withdrawal, ranging from passivity, failure, and refusal to disappearance and remembrance and to resilience and resistance. Understanding withdrawal as a concept that encompasses both cutting ties and reaffirming relations, the contributions collected here trace the...

protest movements
contemporary art
resistance
artistic practice

Current Texts

Dan-el Padilla Peralta

it seemed like we’d just been in some horrible dream OPEN
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»Three hundred people left The House that Jack Built. I think that’s very good, and it wasn’t Cannes.« ABO DE

Slavs and Tatars

To what extent can a revolution of the inner world impact the external, material world surrounding us? OPEN
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Jelili Atiku, Damian Christinger

The key to survival will lay in female hands. OPEN
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Current Texts

»This is not my blood.«

What is the problem with solutions? Blind or deaf? Which faith? What knowledge? Duchamp or Warhol? East or west?

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performance art
identity
human–animal communication
Video art

Current Texts

Zoran Terzić

Symbolical transplants are necessary

Strangeness is everywhere, but strangers are only where we define them.

ABO DE FR

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ESPACE DIAPHANES Berlin:<br>Art, Magazine, Books

ESPACE DIAPHANES Berlin:
Art, Magazine, Books

New releases

Antonin Artaud, Stephen Barber (ed.): Last Writings of Antonin Artaud

Anna Kipke (ed.), Iryna Kovalenko (ed.), ...: Drafts in Action

Eyal Weizman, Ines Weizman: Before & After

Thomas Köck: un gran casino (ta pissà adoss l’ürocc)

THINK ART? THINK ART!

Monograph

Über das Denken der Kunst

Von der Kunst als Forschung und der Forschung als Kunst ist spätestens seit den 1990er Jahren die Rede. Das Konzept sucht die Künste und Wissenschaften in ihrer Arbeitsweise einander anzunähern, doch wird dabei kaum die Frage gestellt, welche Art von Wissen die Künste im Unterschied zu den Wissenschaften hervorbringen. Dieter...

Dieter Mersch

Epistemologien des Ästhetischen

Anthology

Zu einer Poetik des Seriellen

Zugleich Gegenstand und Verfahren, setzt das serielle Denken, wie es sich in diesem Band abzeichnet, mithin eine Reihe von sonst...

Elisabeth Bronfen (ed.), Christiane Frey (ed.), David Martyn (ed.)

Noch einmal anders

Monograph

Around a sculpture by Alberto Giacometti

Does this buried or lost face have a name?

Georges Didi-Huberman, Mira Fliescher (ed.), Elena Vogman (ed.)

The Cube and the Face

Monograph

One plus one equals other

For an aesthetic mode of thought beyond the “linguistic turn”

Dieter Mersch

Epistemologies of Aesthetics

Topics

The Subject of Capitalism
- migration
- cognitive capital
- subjectification
- capitalism
Color and meaning
Who is afraid of Red, Yellow, Blue…?
- monochrome
- chromatics / colour science
- image and imagery
- color
- semiotics and semiology
Autofiction—Metafiction
- autobiography
- memory
- fiction
- autofiction
- Theory of fiction
Observing the Spectator
- mirror
- optical illusion
- gaze
- observer

Current Texts

Elena Vogman

Ornamentation is the body of our thought

With Bely, a continuum is continuously produced between visceral organic states, political states of society and meteorological states of the world.

OPEN
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Current Texts

Artur Zmijewski

About ‘how we treat the others’

“There is something deeply humiliating in such a situation.”

OPEN
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concentration camp
gift
National Socialism
propaganda
Poland
documenta
ethics
migration
political aesthetics
contemporary art

Current Texts

“Fuck that thing.” That’s all punk needs.

Donatien Grau, James Spooner

“The thing about punk is that you’re allowed to talk about anything. Kids can talk about whatever they want. There’s nobody saying, ‘No, you can’t do that, it’s not punk.’” OPEN
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Michele Pedrazzi

Cosa porterà il prossimo bit? Sconvolgenti novità? Semplice ridondanza? OPEN
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Eric Baudelaire

We cannot assume that all government/terrorist interactions will take the form of a two-person zero-sum game. OPEN
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Simon Critchley

Iggy showed the error of human existence, the breathless nearness of death, and the lure of fun and action. He was like a much better-looking version of Schopenhauer. ABO

Books

Alex Arteaga (ed.): Architectures of Embodiment

Marietta Kesting (ed.), Susanne Witzgall (ed.): Human after Man

Wiktoria Furrer, Carla Gabrí, ...: How to Teach Art?

Sara Alonso Gómez (ed.), Isabel J. Piniella Grillet (ed.), ...: NO Rhetoric(s)

»The camera is my »exosomatic extension‹.«

Gertrud Koch, Michael Lüthy, ...

A Walk With Allan Sekula Through His Exhibition

But how can an art in the name of the specific be the lingua franca of globalized art?

Gertrud Koch: We would like to start by discussing the different narrative forms you have chosen for the titles of your series, like »story«, »fable« or »tale«: how would you differentiate between stories and fables, and what autobiographical narratives are involved here? Is it a kind of metanarrative, is it a composing of different narrative moments?  Allan Sekula: Very often my titling a particular work has an idiomatic logic: Fish Story has a vernacular resonance, particularly in American English where a...

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Allan Sekula
exhibition
memory
fiction
photography

Current Texts

Zoran Terzić

Everything new is a pose in the alcoves of capital

In the post-avant-garde era we’re all either in the vanguard or asleep in the lap of capital. In this sense everybody is avant-garde—or nobody. OPEN
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Michael Heitz

The strongest current reflections on the power struggles raging beyond the pleasure principle. OPEN
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Peter Ott

Around 2007 I had the idea of making a feature film about a German woman who is kidnapped in Iraq. It was supposed to be a chamber piece, shot on two intradiegetic cameras. ABO DE

Sina Dell’Anno

The rebellion of the signifiers against their semantic taming OPEN
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Current Texts

Soham Gupta

When life’s hard, time’s a motherfucker going slow

In his photographs and texts, Calcutta-based Soham Gupta forces the tension that arises between fiction and real-life conditions in as yet unseen ways.

ABO DE FR

Current Texts

Tom McCarthy

Ecstasy of inauthenticity

The ironic self-awareness of the poet can only be that of his own inauthenticity, repeated or fed back into itself at increasingly conscious levels, and ‘to know inauthenticity is not the same as to be authentic’.

The question of authenticity and I go back some way; we’re old sparring partners – frenemies. It’s been a fraught relationship, shot through with paradox and misconstruing. My first novel, Remainder, does turn around its protagonist’s obsession with becoming ‘real’, inhabiting his era or his city, building, skin, movements and gestures in a ‘first-hand’ or ‘authentic’ way, an obsession which he carries to the point of murder. Yet the pleasure of seeing this book receiving glowing press reviews that praised it for its ‘originality’ and ‘true’-ness was tinged with an awareness of something being odd or ‘off’, since Remainder is in fact the most un-original of novels, a novel about non-originality and simulacra that’s quite blatantly composed of set tropes and constructed situations reprised and, only slightly modified, replayed from sources ranging from Ballard’s Crash and Beckett’s Godot back to Sterne’s Tristram Shandy (Uncle Toby’s domestic re-stagings of battle terrains)...