DIAPHANES 8/9 fragt nach den eigentümlichen Schleifen reproduzierter Gegenwart, dem Integral zirkulärer Ich-Effekte, der anderen Seite des sozialen Möbiusbands.

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

A phantom that has haunted the imagination of many filmmakers, historians, and writers to the present day,

A ghostly France: Emptiness and explosiveness behind the lines.

DIAPHANES 6/7 stellt sich ins harte Licht ­ästhetischer Trauer, träumt von einer Nachhut der Vielen, konjugiert Vergangenes im Futur 2.

DIAPHANES 6/7 stands in the harsh light of­ ­aesthetic mourning, dreaming of a rear-guard of the many, conjugating the past into the future perfect.

DIAPHANES 5 turns its attention to deception and censorship, violence and consumerism, ­desire and norm, looks for reflections between the poles, ambiguous peripheries, moments of anarchic ­seeing—not just in art.

“Today we are facing chaos all over again,” … wrote André Masson when asked about the situation of contemporary painting in the summer of 1931.

Only white noise and desire in can overturn the frozen discontent.