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Arts

The future has never looked older

However convincingly space agencies justify the enormous budgets, there’s one gratuitous expense: training astronauts for free fall.

Fiction

Upending meanings and rewriting sanity

When it all burns you’ll know – a writer was there at the first…

Discourse

»Self-censorship is the worst.«

»Three hundred people left The House that Jack Built. I think that’s very good, and it wasn’t Cannes.«

contemporary art
Evil
cinema
film
film d'auteur

Humanities

Cultural Reconstructions of the War Body

to reinstate the body’s historical and political dimension

war experience
First World War
Poland
war
death
performativity

Magazine

Authenticity and Feedback

DIAPHANES 8/9 looks into curious loops of reproduced present, the integral of circular I-effects, the other side of the social Möbius strip.

authorship
discourse
art
literature

Magazine Online

News + Events

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

ESPACE DIAPHANES Berlin:
Art, Magazine, Books

diaphanes_net

New releases

Sabine Gebhardt Fink (ed.), Andrej Mircev (ed.): Revolving Documents—Narrations of Beginnings, Recent Methods and Cross-Mappings of Performance Art

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

Francesco Guercio (ed.), Reiner Schürmann, ...: Ways of Releasement

Liliana Gómez (ed.), Fabienne Liptay (ed.): eco-operations

Antonin Artaud, Stephen Barber (ed.): Watchfiends and Rack Screams

Autofiction—Metafiction

Article

»The camera is my »exosomatic extension‹.«

But how can an art in the name of the specific be the lingua franca of globalized art? OPEN
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Gertrud Koch, Michael Lüthy, Bernhard Schieder, Allan Sekula

A Walk With Allan Sekula Through His Exhibition

Article

“I fled Europe as one flees one’s parents’ house“

I recognize that lobby. The Washington Hilton. Men in business suits are crammed in there by the thousands. American philosophers meeting for a convention. A compact assembly of thinkers. Thirty-five hundred of them, Newsweek published the figure. The eastern division of the American Philosophical Association. I make a tour of...

Reiner Schürmann

How I Try to Sell Myself to the Americans

Monograph

»Ich bin nicht gut im Vergessen. Ich kann es überhaupt nicht«

Ein junger Deutscher in den sechziger Jahren schreibt hier, heimgesucht von einer übergroßen Sensibilität für die Allgegenwart der Vergangenheit. Geradezu körperlich trägt er in seiner eigenen Person die Unfähigkeit aus, zu vergessen, was er selbst nicht bewusst erlebt hat: Krieg und Vernichtung. Die stark autobiographisch geprägte Erzählung folgt den zahlreichen...

Reiner Schürmann

Ursprünge

Monograph

“Obsessed with buffering”

In this essay, based on a talk he gave in Zurich, award-winning British novelist Tom McCarthy ("Remainder", "C", "Satin Island")... ABO

Tom McCarthy

Recessional—Or, the Time of the Hammer

About ‘how we treat the others’

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

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

Current Texts

Symbolical transplants are necessary

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

ABO DE FR

Current Texts

Ute Holl

“Communism will be when we understand something of love.” OPEN
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Twenty-four hours in state of unconsciousness

Now this spectral city will become the site for execrations and lamentations, now time itself will disintegrate and void itself… ABO

Jurij Pavlovich Annenkov

We rehearsed the crowd scenes in the Winter Palace, in the Throne Room and the Armorial Hall. ABO

Marie Glassl, Sophie Lewis

“If you love your family, you want family abolition for them!” ABO DE

Arts

Fragility is the only thing I really know about me

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

I am fragile and sad – almost as described in Triste Tropiques by Claude Lévi-Strauss.

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...

ABO DE

identity
film d'auteur
autofiction
subjectivity

Arts

A coffin to bury the statues of the ancestors

Clémentine Deliss

I was initially slightly sceptical of the ramifications and undertones of Renzo Martens’ project in central Congo… OPEN
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Dennis Cooper, Donatien Grau, ...

“I don’t believe in progress, no.” OPEN
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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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To lay a hand on the shoulder of future victims…

Donatien Grau, Pierre Guyotat

»By using voices I have rediscovered what we call humanity.« OPEN
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Arts

Malte Fabian Rauch

Camouflaged with a visual language

What Reena really wanted to know was why – in a night club, for example – do we chose, always and above all, that nothing happens?”

ABO

Arts

Eric Baudelaire

A for Anomie

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

A for Anomie

The idea that terrorism and other forms of political violence are directly related to strains caused by strongly held grievances has been one of the most common explanations to date and can be traced to a diverse set of theoretical concepts including relative deprivation, social disorganization, breakdown, tension, and anomie. Merton (1938) identifies anomie as a cultural condition of frustration, in which values regarding goals and how to achieve them conflict with limitations on the means of achievement.

Gary LaFree and Laura Dugan, “Research on Terrorism and Countering Terrorism”, Crime and Justice, Vol. 38, No. 1, 2009.

B for Block or Blocked

If terrorism in each of its expressions can be considered an indicator of the existence of a political block (of an impossibility of reacting if one wishes to react differently), this influences its real ability to modify the situation. Terrorism has been historically more successful when it was not...

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Authors

Books

Liliana Gómez (ed.): Performing Human Rights

Antonin Artaud, Stephen Barber (ed.): Artaud the Mômo

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

Donatien Grau, Sylvère Lotringer: I Was More American than the Americans

Fiction

The matrix for »Tombeau pour cinq cent mille soldats«

Pierre Guyotat

The Prison

“This text was written at the end of 1962, after my return from Algeria. For me the text is the matrix for Tombeau pour cinq cent mille soldats.” P.G.

Our prison was encircled by marshland where birds and sick dogs came to die. At night we could hear their cries and death rattles. We could see nothing of the town except its smoke and its dying animals. Prisoners on the second floor watched those washed-out cats and dogs die, lying down then struggling in the mud like birds caught in lime; famished cats jumped on those with gaping wounds and tore them open. From the cellar where we had been...

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war experience
war

Fiction

Diane Williams

How about some string?

I said “Would you like a rope? You know that haul you have is not secured properly.” ABO DE

Tom McCarthy

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’. ABO DE

Rudi Nuss

The seahorse is the chosen metaphor for pregnant trans men ABO DE

The limp, voluptuous decadence of the place

Bruce Bégout

I’m not going to talk about my profession here. ABO FR DE

Fiction

Kim Gordon

It was another 75° day in LA.

Where do you go when you disappear?

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Fiction

Dodie Bellamy

All that pent up terror and rage

A stupid tweet by a nobody, meant as a parody, somehow goes viral and the internet offers up death threats.

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Authors

Discourse

Digital disrupture

Dieter Mersch

Digital Criticism

The machine remains alien to any mechanical limitation.

We really need an analysis of algorithmic conditions and their paradoxes and ambiguities that gives them an adequate framework and horizon. But instead we currently seem to be finding an algorithmic solution of the algorithmic, much as digital solutions are being offered for the problems of the digital public sphere, in the way that IT corporations, for example, use exclusively mathematical procedures to evaluate and delete “fake news,” inappropriate portrayals, or the violation of personal rights. This tends to result...

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Discourse

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

Ines Kleesattel

Thérèse ayant douleurs menstruelles could be a beginning. OPEN
ACCESS DE

Alexander García Düttmann

Can contemporary theatre recognize itself in the boxing ring so that its fist, the fist of the past, strikes a forceful and violent blow? ABO DE

Sylvia Sasse

“Lifestyle must conform to the above-named circles of persons or be easily adapted,” “artistic talent,” “strong general education.” OPEN
ACCESS DE

Discourse

Dan-el Padilla Peralta

Capitalism sucks. Tag everything.

it seemed like we’d just been in some horrible dream

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Discourse

Sina Dell’Anno

The Disobedience of the Word

“He always read Priam instead of ‘prime’.”

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Authors

Books

Mathias Denecke (ed.), Holger Kuhn (ed.), ...: Liquidity, Flows, Circulation

Erich Hörl (ed.), Nelly Y. Pinkrah (ed.), ...: Critique and the Digital

Liza Mattutat (ed.), Roberto Nigro (ed.), ...: What’s Legit?

Alexander Kluge, Joseph Vogl: Soll und Haben

Elisabeth Bronfen: Mad Men, Death and the American Dream

Humanities

»… Consistently Abused and Forced…«

Kati Kroß

Christoph Schlingensief's »Freakstars 3000«

However, the discussions about Schlingensief’s film were sparked by the same, or similar, questions as in the case of Disabled Theater: have the performers been exposed? Have they been declared incompetent, or ridiculed?

When non-disabled artists such as Jérôme Bel or Christoph Schlingensief in their productions work with actors who, in hegemonic discourse, are referred to as disabled, they almost invariably face criticism over the exploitation and voyeuristic exhibition of these people. Bel’s Disabled Theater anticipated such reservations and took a good deal of wind out of its critics’ sails by having the performers themselves raise these issues on stage and report on their families’ reactions to the piece. Nevertheless, the question whether...

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disability studies
identity
aesthetics
performing arts
Jérôme Bel

Humanities

Ornamentation is the body of our thought

Elena Vogman

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

Alexander García Düttmann

What does “emancipatory” mean today?

Let us pretend one more time that the world can still be saved. ABO DE

Each showroom has a couple of “managers”.

Do I really know the person I’ve watched every day on screen for months? I know many things, like where he is, where he comes from, what his home looks like, when he gets up and sleeps, etc. But do I really know him? ABO DE

Helmut J. Schneider

A Phenomenology of Compassion

How to make the strange person our “neighbor”? ABO DE

Humanities

Malte Fabian Rauch

Nothing is at home

Philosophy is found wanting. It is considered anachronistic, some say dead. The tradition is in ruins.

ABO

aesthetics
art theory
art
Modernism
phenomenology

Humanities

Maria Filomena Molder

So many egoists call themselves artists…

Words are human things; a great obscurity saturates them…

“So many egoists call themselves artists,” Rimbaud wrote to Paul Demeny on May 15, 1871. Even though that is not always obvious, ‘I’, the first person, is the most unknown person, a mystery that is constantly moving towards the other two, the second and third persons, a series of unfoldings and smatterings that eventually gelled as ‘Je est un autre’. That is why ‘apocryphal’ is a literarily irrelevant concept and ‘pseudo’ a symptom, the very proof that life, writing, is made up of echoes, which means that intrusions and thefts (Borges also discusses them) will always be the daily bread of those who write.

Words from others, words taken out of place and mutilated: here are the alms of time, that squanderer’s sole kindness. And so many others, mostly others who wrote, and many other pages, all of them apocryphal, all of them echoes, reflections. All this flows together into—two centuries...

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Authors