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A coffin to bury the statues of the ancestors

Clémentine Deliss

The Repatriation of the White Cube

I was initially slightly sceptical of the ramifications and undertones of Renzo Martens’ project in central Congo…

I was initially slightly sceptical of the ramifications and undertones of Renzo Martens’ project in central Congo. But as I found out on a recent visit to Lusanga in DRC, it is precisely the complexity and radical ambiguity of the enterprise that provides it with both artistic as well as socio-economic and political relevance. The work operates across several registers, each with its own context and syntax, be it within farming or art. What really convinces me is the equity...

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Africa
contemporary art
colonial history
colonialism
museum

Current Texts

Artur Zmijewski

“There is something deeply humiliating in such a situation.” 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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»Three hundred people left The House that Jack Built. I think that’s very good, and it wasn’t Cannes.« ABO DE

Zoran Terzić

Symbolical transplants are necessary

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

Current Texts

Dan-el Padilla Peralta

Capitalism sucks. Tag everything.

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

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Current Texts

Dennis Cooper, Donatien Grau, ...

Sex creates love and love creates sex

“I don’t believe in progress, no.”

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philology
music

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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

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

Anthology

Zur Kritik der Wirksamkeit in den Künsten

In den heutigen Praxistheorien spielen Dinge und ihre Materialität eine prominente Rolle. Dinge gelten als ausgesprochen wirkmächtig, insofern sie als...

Kathrin Busch (ed.), Burkhard Meltzer (ed.), Tido von Oppeln (ed.)

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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

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

Topics

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

Current Texts

Jelili Atiku, Damian Christinger

Mama Say Make I Dey Go, She Dey My Back

The key to survival will lay in female hands.

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colonialism
ritual
Africa
body
ceremony
feminism
performance
spiritism

Current Texts

»This is not my blood.«

What is the problem with solutions? Blind or deaf? Which faith? What knowledge? Duchamp or Warhol? East or west?

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performance art
Video art
identity
human–animal communication

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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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

Eric Baudelaire

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

Books

Mario Schulze (ed.), Sarine Waltenspül (ed.): String Figures

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

Shusha Niederberger (ed.), Cornelia Sollfrank (ed.), ...: Aesthetics of the Commons

»… 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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aesthetics
identity
disability studies
performing arts
Jérôme Bel

Current Texts

Claire Fontaine

Becoming the translator rather than the careless exploiter of nature might be the adventure of humankind in the years to come. OPEN
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Zoran Terzić

Everything new is a pose in the alcoves of capital

In the post-avant-garde era we’re all either in the vanguard or asleep in the lap of capital. In this sense everybody is avant-garde—or nobody. OPEN
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“Poetry must be made by all. Not by one.”

Mário Gomes

“Nuestro Norte es el Sur” = “Our North is the South.” OPEN
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Sandra Frimmel

What does it mean? ABO DE

Current Texts

Tom McCarthy

Ecstasy of inauthenticity

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’.

The question of authenticity and I go back some way; we’re old sparring partners – frenemies. It’s been a fraught relationship, shot through with paradox and misconstruing. My first novel, Remainder, does turn around its protagonist’s obsession with becoming ‘real’, inhabiting his era or his city, building, skin, movements and gestures in a ‘first-hand’ or ‘authentic’ way, an obsession which he carries to the point of murder. Yet the pleasure of seeing this book receiving glowing press reviews that praised it for its ‘originality’ and ‘true’-ness was tinged with an awareness of something being odd or ‘off’, since Remainder is in fact the most un-original of novels, a novel about non-originality and simulacra that’s quite blatantly composed of set tropes and constructed situations reprised and, only slightly modified, replayed from sources ranging from Ballard’s Crash and Beckett’s Godot back to Sterne’s Tristram Shandy (Uncle Toby’s domestic re-stagings of battle terrains)...