Marie Glassl, Sophie Lewis
Surrogate Abolition
Emma Waltraud Howes
Questionnaire Emma Waltraud Howes
Rudi Nuss
The Love in the Convex, in Absolute Roundness and the Sluttification of All Men West of the Bosporus
Johanna Went
I remember (Johanna Went)
Sina Dell’Anno
Punk / Philology
Dan-el Padilla Peralta
Junk Philology. An Anti-Commentary
Simon Critchley
Learning to Eat Time with One’s Ears
Tom McCarthy
Toke My Asymptote – or, The Ecstatic Agony of Appearance
Zoran Terzić
The Grand Generalization
Kai van Eikels
Do in What's Doing, Democracy in!
Felix Stalder
Feedback as Authenticity
Claire Fontaine
Towards a Theory of Magic Materialism
Mehdi Belhaj Kacem
Tomb for Guy Debord
Malte Fabian Rauch
Where the Negative Holds Court
Mehdi Belhaj Kacem, Philippe Sollers
What is the Meaning of the Avant-garde’s Death?
Barbara Basting
Der Algorithmus und ich 5
Sina Dell’Anno
Oratio Soluta
Fritz Senn
Das Leben besteht aus gestrandeten Konjunktiven
Axel Dielmann
The Dressmaker
Maria Filomena Molder
The Alms of Time
Barbara Basting
Der Algorithmus und ich 6
Damian Christinger, Monica Ursina Jäger
Homeland Fictions
Zoran Terzić
Political Transplants
Dietmar Dath
Your Sprache Never Was
Stephen Barber
A War of Fragments: World Versus America
Marcus Quent
Elapsing Time and Belief in the World
Maël Renouard
The Twilight of Classification?
Eric Baudelaire
Abecedarium
Bruce Bégout
The Man from Venice
Ann Cotten
Dialogs
Tom Kummer
Questionnaire Tom Kummer
Artur Zmijewski
Conversation on “Glimpse”
Aya Momose
Questionnaire Aya Momose
The Transversal Shelf of Printed Books in Times of Accelerated Opaque Media
Tyler Coburn
Quaddie
Kommt ein Polizist zu einem Mann, der beschuldigt wird, seinen kleinen Sohn zu Tode geschüttelt zu haben. Wie ist denn das passiert?, will der Polizist wissen. So!, gibt der Mann...
Der Titel ist Programm. Dieses »in der hauptsache von 1962 bis 1967« geschriebene Werk ist nicht nur ein megalomanisch zusammengeclustertes Durchverdauen der bewegenden Theorien der späten 60er Jahre (Linguistik, Kybernetik,...
The Three Marias is a highly interesting work of feminist literature, although it’s now largely forgotten outside of its native Portugal. In the early 70s, while the country was still...
L’œuvre d'art n’a pas d’idée, elle est idée
Following Georges Perec’s Memory 480: "I remember… (to be continued…)"…
Red oder Blue? Welche Götter? What’s wrong with reality? Nord oder Süd? Wie sterben? What is the problem with solutions?
…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…
I’ve always been fascinated by globes, which is why I photographed this very special example in 2011, and the FB algorithm recently presented it to me again. It’s said to be the largest model of the world in the world. I discovered it in Corona Park in the New York district of Queens, the site of the 1939 and 1964 World’s Fairs. I went to the Queens Museum, whose creeper-covered wall is on the photograph’s right, mainly to see its model of New York. This impressive piece was commissioned by Robert Moses, director of the World’s Fair, in 1964. New York was supposed to look like an urbanist miracle, the most grandiose of 20th-century cities, the hub of the world.
Facebook fished the picture from the depths of its archives while I was thinking about the estate of an artist whose studio I had cleared out. It included a battered...
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.