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One plus one equals other
Dieter Mersch
Epistemologies of Aesthetics
We identified ‘showing’—rather than ‘saying’—as the primary self-manifestation of the aesthetic. By ‘showing’ and ‘manifestation’ we do not mean expression, but exhibition and exposition. Wherever works work only with aisthēta and relevance is drawn from perceptions or things and their materiality—from every nuance of coloring, from the way in which objects are framed or combined, from the position of a detail, from the interval between two notes and their microtonal succession or arrhythmic placement, from any hesitation of physical feeling,...
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Jelili Atiku, Damian Christinger
Mama Say Make I Dey Go, She Dey My Back
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Monograph
Around a sculpture by Alberto Giacometti
Georges Didi-Huberman, Mira Fliescher (ed.), Elena Vogman (ed.)
The Cube and the Face
Anthology
Zur Kritik der Wirksamkeit in den Künsten
Kathrin Busch (ed.), Burkhard Meltzer (ed.), Tido von Oppeln (ed.)
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»… Consistently Abused and Forced…«
Kati Kroß
Christoph Schlingensief's »Freakstars 3000«
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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