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Art
To end GOD’S JUDGEMENT
Antonin Artaud, Stephen Barber (ed.)
Radio Works: 1946–48
Artaud’s work is performative in the sense that it never simply describes, but actively produces the events it enacts. As Austin characterises performative language, ‘the issuing of the utterance is the performing of an action’.3 Artaud’s work, performed correctly, is magical, finding its power in ritualistic chanting. Intonation is key to this, recalling what he wrote about metaphysical language in The Theatre and its Double, where the aim is ‘to deal with intonations in an absolutely concrete manner, restoring their...
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Anthology
Zur Kritik der Wirksamkeit in den Künsten
Kathrin Busch (ed.), Burkhard Meltzer (ed.), Tido von Oppeln (ed.)
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Anthology
Zu einer Poetik des Seriellen
Elisabeth Bronfen (ed.), Christiane Frey (ed.), David Martyn (ed.)
Noch einmal anders
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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. 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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