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Only art has the power of a form. Mathematics is an exercise for monks.
Only art has the power of a form. Mathematics is an exercise for monks.

Alain Badiou

Art and Mathematics

We all know that the relationship between mathematical activity and artistic creation is a very old one. We know that for a start the Pythagoreans tied the science of number not merely to the movements of the stars but to musical modes. We know that Babylonian and Egyptian architecture presupposed elaborate geometrical knowledge, even if the notion of demonstration had still not been won. Further back still, we find formal, or abstract, outlines mixed in with animal representations, in the...
  • art criticism
  • contemporary art
  • aesthetics
  • poetry
  • art
Current Texts
About ‘how we treat the others’

Artur Żmijewski

About ‘how we treat the others’

  • concentration camp
  • gift
  • ethics
  • political aesthetics
  • propaganda
  • documenta
  • migration
  • Poland
  • contemporary art
  • National Socialism
News + Events

Buchvernissage: Performance Chronik Basel (1987–2006)

13.11.2017, 18:00

Kunsthaus KuLe
Auguststrasse 10
10117 Berlin

Dauerausstellung »Gesichtsüberwachungsschnecken« von Yves Netzhammer

05.09.2017 – 05.09.2018

U-Bahn-Station Altes Landgut (U1)
1100 Wien

Sounds of Resistance: Straub/Huillet/Schoenberg

07.10.2017 – 14.10.2017

Akademie der Künste
Hanseatenweg 10
10557 Berlin

Straub/Huillet: Tell it to the Stones

13.09.2017 – 19.11.2017

Akademie der Künste
Hanseatenweg 10
10557 Berlin

Storming of the Winter Palace: History as Theater

23.09.2017 – 25.10.2017

Gessnerallee Zürich
Gessnerallee 8
8001 Zürich


Current Texts
“Poetry must be made  by all. Not by one.”

Mário Gomes

“Poetry must be made by all. Not by one.”

  • community
  • theory of architecture
  • South America
  • poetics
  • spatial turn
  • architecture
  • fiction


Fragility is the only thing I really know about me
Fragility is the only thing I really know about me

Claire Denis

“Fragility is the only thing I really know about me”

I am not a very balanced person. I am fragile and sad – almost as described in Triste Tropiques by Claude Lévi-Strauss. I feel both those adjectives, I grew up with them. I was aware of my fragility even when I was very young – a baby, learning to walk, living somewhere in Africa and already feeling that the number of white persons was very small compared to the number of black persons and also noticing that most of the...
  • autofiction
  • identity
  • film d'auteur
  • subjectivity
Current Texts

Caroline Jones

Art, science and the server-user-mode

The question is: what kinds of subjects are we becoming, in these networked brains embedded in their fleshy, neuronal viscera? And are these art-implicated subjects finding their parallel in science? Now more than ever we need to think about ›experience‹ as embodied thought – now when that ›cavern‹ and the thick, sensory envelope that populates it with consciousness is studded with earphones, zooming in psychopharmaceuticals, extended with prostheses, dazzled by odorless tastes and tasteless odors, transported by new media, and buzzing with ideas. You will say: this is not the first moment we have confronted such questions. But if the Dadaists anticipated prosthetic subjecthood, their experience was of an intact head with attachments. The complexity of input and internalization in contemporary art, and the sheer scope of scientific interpellation of us as subjects, is a world away. Artists attempt to materialize the sense data of contemporary subject positions. Materialization is...

  • contemporary art
  • experiment
  • artistic research
  • Ernst Mach
  • Bruno Latour
Current Texts

Bojana Cvejić

Politically challenged, aesthetically burdened

With “aesthetic burden” I refer to an inherent aestheticism dating from Western modern dance as the persistence of the modernist quest of choreography and dance to reassert its disciplinary specificity, exclusiveness and autonomy in aesthetic categories. Aestheticism in Western theatrical dance is rooted in the oral and mimetic practice of transmission of movement, the “show and copy” model that rests upon the image and imaginability of movement. Regardless of the operation a work of contemporary dance may entail, it is more often than not presented, received, judged, historically recognized, referenced, or transmitted in the image of the body and movement. While in dance it relies on the oral mimetic logic of producing a self-identical aesthetic object by reproduction, the predominance of the visual in framing the sensorial of dance is not unique for dance, but a result of the condition of circulating any work as a commodity. What is specific...

  • politics
  • dancing
  • choreography
  • visual thinking
  • body