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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
colonialism
museum
contemporary art
colonial history

Current Texts

Artur Zmijewski

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

Slavs and Tatars

Why the Backwards Smile?

To what extent can a revolution of the inner world impact the external, material world surrounding us?

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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
spiritism
ceremony
Africa
performance
ritual
feminism
body

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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

One plus one equals other

For an aesthetic mode of thought beyond the “linguistic turn”

Dieter Mersch

Epistemologies of Aesthetics

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

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

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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Topics

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

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
human–animal communication
Video art
identity

Current Texts

Michele Pedrazzi

Il testo ignoto è una promessa

Cosa porterà il prossimo bit? Sconvolgenti novità? Semplice ridondanza?

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media theory
reading
electronic music
music
time

Current Texts

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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Zoran Terzić

Symbolical transplants are necessary

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

Dan-el Padilla Peralta

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

Books

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

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

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

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

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

»The camera is my »exosomatic extension‹.«

Gertrud Koch, Michael Lüthy, ...

A Walk With Allan Sekula Through His Exhibition

But how can an art in the name of the specific be the lingua franca of globalized art?

Gertrud Koch: We would like to start by discussing the different narrative forms you have chosen for the titles of your series, like »story«, »fable« or »tale«: how would you differentiate between stories and fables, and what autobiographical narratives are involved here? Is it a kind of metanarrative, is it a composing of different narrative moments?  Allan Sekula: Very often my titling a particular work has an idiomatic logic: Fish Story has a vernacular resonance, particularly in American English where a...

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memory
photography
fiction
Allan Sekula
exhibition

Current Texts

Mehdi Belhaj Kacem, Philippe Sollers

Like no other journal, Tel Quel was an outstanding arena of literary innovation and intellectual revolution. In this conversation its founder and publisher, Philippe Sollers, provides intimate insight and polemical hindsight into some of the most important milestones of its still-resonating era. 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

Peter Ott

Around 2007 I had the idea of making a feature film about a German woman who is kidnapped in Iraq. It was supposed to be a chamber piece, shot on two intradiegetic cameras. ABO DE

“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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Current Texts

Barbara Basting

Based on a brilliant trick

Filippo Tommaso Marinetti’s closeness to fascism has put him in a dubious light. Barbara Basting tells of her personal fascination with futurism and her dehabituation from its aura and central figure.

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)...