Complicity in Spectatorship
Disabling / Enabling Photography
Öffentlicher Raum und Publikum in den Illustrationen der »Maqâmât« al-Hariris im 13. Jahrhundert
Training the Eye
After all, the history of modern and contemporary art can be read as the progressive inclusion of a growing part of the formless into apparatuses.
A stupid tweet by a nobody, meant as a parody, somehow goes viral and the internet offers up death threats.
“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...