Emma Waltraud Howes
Questionnaire Emma Waltraud Howes
Marie Glassl, Sophie Lewis
Surrogate Abolition
Rudi Nuss
The Love in the Convex, in Absolute Roundness and the Sluttification of All Men West of the Bosporus
Donatien Grau
A Life in Philology
Sina Dell’Anno
Punk / Philology
Simon Critchley
Learning to Eat Time with One’s Ears
Barbara Basting
Der Algorithmus und ich 8
A. L. Kennedy
What is an Author?
Barbara Basting
Der Algorithmus und ich 8
Tom McCarthy
Toke My Asymptote – or, The Ecstatic Agony of Appearance
Barbara Basting
Der Algorithmus und ich 7
Felix Stalder
Feedback as Authenticity
Mehdi Belhaj Kacem
Tomb for Guy Debord
Sandra Frimmel
I Hate the Avant-garde
Zoran Terzić
The Tautomaniac
Barbara Basting
Der Algorithmus und ich 6
Alexander García Düttmann
Cold Distance
Lars von Trier in Conversation with Mehdi Belhaj Kacem & Raphaëlle Milone
Andreas L. Hofbauer
Yoke
Barbara Basting
Der Algorithmus und ich 7
Zoran Terzić
Political Transplants
Helmut J. Schneider
How Distant Can My Neighbor be?
Barbara Basting
Der Algorithmus und ich 7
Jean-Luc Nancy
Zah Zuh
Dieter Mersch
Digital Criticism
Marcus Quent
Elapsing Time and Belief in the World
Barbara Basting
Der Algorithmus und ich 3
Elena Vogman
Dynamography, or Andrei Bely’s Rhythmic Gesture
Ann Cotten
Dialogs
Rolf Bossart, Milo Rau
On Realism
Diane Williams
Bang Bang on the Stair
Jurij Pavlovich Annenkov
A Diary of my Encounters
Damian Christinger
Huelsenbeck (Book)
The Transversal Shelf of Printed Books in Times of Accelerated Opaque Media
On the first gaze the works of Emma Waltraud Howes seem incongruously out of time. Visiting her studio, one enters another world: meets mushrooms and corals, glass artichoke-hand grenades, the...
Nicole Bachmann’s latest work, I say, has the performer practice a text, sense a word in the mouth, calling it forth, and another, repeating, hearing, interrupting, and another, beginning again,...
The project space CORNER COLLEGE in Zurich’s 4th district has for some time now been giving invigorating impulses to both art and theory, and can be recommended to every visitor...
I got to know Tom Kummer in 2006 while editing his book Blow Up in nighttime telephone calls to Los Angeles. We met for the first time at the book...
Vonceptually sensory bills of fare, enumerations and selections…
L’œuvre d'art n’a pas d’idée, elle est idée
We are looking for relics of visions of the future in past image spaces, for the traces and signatures of something once imaginable and timelessly possible.
The post I’m now sharing was somewhat unsettling: “Barbara joined Facebook 6 years ago!”
My language
English
Selected content
English
»Ineluctable modality of the visible: at least that if no more, thought through my eyes. Signatures of all things I am here to read, seaspawn and seawrack, the nearing tide, that rusty boot. Snotgreen, bluesilver, rust: coloured signs. Limits of the diaphane. But he adds: in bodies. Then he was aware of them bodies before of them coloured. How? By knocking his sconce against them, sure. Go easy. Bald he was and a millionaire, MAESTRO DI COLOR CHE SANNO. Limit of the diaphane in. Why in? Diaphane, adiaphane. If you can put your five fingers through it it is a gate, if not a door. Shut your eyes and see.
Rhythm begins, you see. I hear. Acatalectic tetrameter of iambs
marching. No, agallop: DELINE THE MARE.
Open your eyes now. I will. One moment. Has all vanished since?
If I open and am for ever in the black adiaphane. BASTA! I will see
if I can see.
See now. There all the time without you: and ever shall be, world
without end.«
James Joyce
Dire works on the bogus regime—not just of art—but endowed with wit, beauty and irresistible fetish character.