I.V. Nuss
The Love in the Convex, in Absolute Roundness and the Sluttification of All Men West of the Bosporus
Marie Glassl, Sophie Lewis
Surrogate Abolition
Emma Waltraud Howes
Questionnaire Emma Waltraud Howes
Dennis Cooper, Donatien Grau, Richard Hell
"I’d rather live in a book"
Donatien Grau
A Life in Philology
Simon Critchley
Learning to Eat Time with One’s Ears
Felix Stalder
Feedback as Authenticity
Barbara Basting
Der Algorithmus und ich 7
Mengia Tschalaer
Queer Spaces
Claire Fontaine
Towards a Theory of Magic Materialism
Zoran Terzić
The Tautomaniac
Barbara Basting
Der Algorithmus und ich 6
Michael Heitz, Hendrik Rohlf
Uma’s Face—Thurman’s Voice
Andreas L. Hofbauer
Yoke
Alexander García Düttmann
Cold Distance
Lars von Trier in Conversation with Mehdi Belhaj Kacem & Raphaëlle Milone
Zoran Terzić
Political Transplants
A.K. Kaiza
An Annotated History of Wakanda
Nicole Bachmann
Questionnaire Nicole Bachmann
Dietmar Dath
Your Sprache Never Was
Maël Renouard
The Twilight of Classification?
Barbara Basting
Der Algorithmus und ich 3
Alexander García Düttmann
Can There Be a Society Without Ceremony or the Critical Question of Theatre
Ann Cotten
Dialogs
Diane Williams
Bang Bang on the Stair
Jelili Atiku, Damian Christinger
Venice, Lagos, and the Spaces in between
Artur Zmijewski
Conversation on “Glimpse”
Johanna Went
I remember (Johanna Went)
Donatien Grau, Pierre Guyotat
Conversation
Barbara Basting
Der Algorithmus und ich 2
Luc Meresma
Capt. Norman MacMillan (Book)
Plörre
Smegma
Ohrwurm
Schlamassel
Kummerspeck
Weltschmerz
Gesöff
Fernweh
Lotterbett
Spelunke
Scharmützel
Donnerwetter
Schabracke
Mumpitz
Spatzenhirn
Lustmolch
Kaschemme
Spinatwachtel
Popanz
Cumulus tuba ;
Cirrus cumulonimbogenitus ;
Wallcloud ;
Bannerwolke ;
Föhnfische ;
mother-of-pearl cloud ;
Altocumulus translucidus ;
Stratocumulus...
Raucous time capsules, rare jewels, and indispensable bulky goods from all epochs, languages, and genres.
The post I’m now sharing was somewhat unsettling: “Barbara joined Facebook 6 years ago!”
We are looking for relics of visions of the future in past image spaces, for the traces and signatures of something once imaginable and timelessly possible.
L’œuvre d'art n’a pas d’idée, elle est idée
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.