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Skin marks us in the world

Eduardo Jorge de Oliveira

Invented Skins

First, before you invent a skin, you are born with a skin; second, you can make a skin when you have one.

You never know how many skins you have had by having a single skin. However, this skin has an inseparable memory of the future. Its vital movement depends on this dynamic that inserts it in a specific present. Thus, if skin makes us human, it is also a set of points that mark different ways of feeling. We feel the world through the fragility of our skin. Microorganisms exist in this skin. The most human portion also contains inhuman matter...

aesthetics
intertextuality
Brazil
Think Art
avant-garde

Current Texts

Jelili Atiku, Damian Christinger

The key to survival will lay in female hands. OPEN
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Zoran Terzić

Symbolical transplants are necessary

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

What is the problem with solutions? Blind or deaf? Which faith? What knowledge? Duchamp or Warhol? East or west? OPEN
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When life’s hard, time’s a motherfucker going slow

Soham Gupta

In his photographs and texts, Calcutta-based Soham Gupta forces the tension that arises between fiction and real-life conditions in as yet unseen ways. ABO DE FR

Current Texts

Donatien Grau, James Spooner

“Fuck that thing.” That’s all punk needs.

“The thing about punk is that you’re allowed to talk about anything. Kids can talk about whatever they want. There’s nobody saying, ‘No, you can’t do that, it’s not punk.’”

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Current Texts

»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.«

ABO DE

Evil
cinema
film d'auteur
contemporary art
film

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

ESPACE DIAPHANES Berlin:
Art, Magazine, Books

New releases

Antonin Artaud, Stephen Barber (ed.): Last Writings of Antonin Artaud

Anna Kipke (ed.), Iryna Kovalenko (ed.), ...: Drafts in Action

Eyal Weizman, Ines Weizman: Before & After

Thomas Köck: un gran casino (ta pissà adoss l’ürocc)

THINK ART? THINK ART!

Monograph

Studien zur Bildlichkeit des Films

Filmbetrachtung hat es zunächst mit materiellen Sichtbarkeiten zu tun, mit Bildern, die dem Blick gegeben sind, bevor sie zu erzählen...

Fabienne Liptay

Telling Images

Anthology

Zu einer Poetik des Seriellen

Zugleich Gegenstand und Verfahren, setzt das serielle Denken, wie es sich in diesem Band abzeichnet, mithin eine Reihe von sonst...

Elisabeth Bronfen (ed.), Christiane Frey (ed.), David Martyn (ed.)

Noch einmal anders

Monograph

Around a sculpture by Alberto Giacometti

Does this buried or lost face have a name?

Georges Didi-Huberman, Mira Fliescher (ed.), Elena Vogman (ed.)

The Cube and the Face

Monograph

Über das Denken der Kunst

Von der Kunst als Forschung und der Forschung als Kunst ist spätestens seit den 1990er Jahren die Rede. Das Konzept sucht die Künste und Wissenschaften in ihrer Arbeitsweise einander anzunähern, doch wird dabei kaum die Frage gestellt, welche Art von Wissen die Künste im Unterschied zu den Wissenschaften hervorbringen. Dieter...

Dieter Mersch

Epistemologien des Ästhetischen

Topics

Observing the Spectator
- optical illusion
- observer
- gaze
- mirror
The Subject of Capitalism
- cognitive capital
- migration
- capitalism
- subjectification
Color and meaning
Who is afraid of Red, Yellow, Blue…?
- monochrome
- chromatics / colour science
- image and imagery
- color
- semiotics and semiology
Autofiction—Metafiction
- fiction
- memory
- autobiography
- Theory of fiction
- autofiction

Current Texts

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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Current Texts

Artur Zmijewski

About ‘how we treat the others’

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

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

Current Texts

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
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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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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

Dennis Cooper, Donatien Grau, ...

“I don’t believe in progress, no.” OPEN
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Books

Mehdi Belhaj Kacem, Antoine d’Agata: Diagonale du vide

Eduardo Jorge de Oliveira: Invented Skins

Georges Didi-Huberman, Mira Fliescher (ed.), ...: The Cube and the Face

Donatien Grau (ed.), Christoph Wiesner (ed.): After the Crisis

Photographs tend to suggest infinity

Siegfried Kracauer

The Photographic Approach (1951)

Photographs evoke a response in which our sense of beauty and our desire for knowledge interpenetrate.

The photographic approach – that is, the effort to utilize the inherent abilities of the camera – is responsible for the particular nature of photographs. In the days of Zola and the Impressionists, the properties of photographs were commonly held to be the hallmarks of art in general; but no sooner did painting and literature break away from realism than these properties assumed an exclusive character. Since they depend upon techniques peculiar to the medium, they have remained stable throughout its evolution....

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