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
Emma Waltraud Howes
Questionnaire Emma Waltraud Howes
Donatien Grau, James Spooner
Afropunk Philology
Simon Critchley
Learning to Eat Time with One’s Ears
Johanna Went
I remember (Johanna Went)
Barbara Basting
Der Algorithmus und ich 8
Barbara Basting
Der Algorithmus und ich 7
Felix Stalder
Feedback as Authenticity
Claire Fontaine
Towards a Theory of Magic Materialism
Mengia Tschalaer
Queer Spaces
Barbara Basting
Der Algorithmus und ich 6
Mehdi Belhaj Kacem, Philippe Sollers
What is the Meaning of the Avant-garde’s Death?
Zoran Terzić
The Tautomaniac
Michael Heitz
Wong Ping’s "Who’s the Daddy"
Ines Kleesattel
Art, Girls, and Aesthetic Freedom Down Below
Lars von Trier in Conversation with Mehdi Belhaj Kacem & Raphaëlle Milone
Malte Fabian Rauch
Phenomena in Exile
Barbara Basting
Der Algorithmus und ich 7
Michele Pedrazzi
The Next Bit. Corpo a corpo con l’ignoto
Barbara Basting
Der Algorithmus und ich 5
Barbara Basting
Der Algorithmus und ich 4
Zoran Terzić
Political Transplants
Elena Vogman
Dynamography, or Andrei Bely’s Rhythmic Gesture
Tom Kummer
Questionnaire Tom Kummer
Bruce Bégout
The Man from Venice
Rolf Bossart, Milo Rau
On Realism
Alexander García Düttmann
Can There Be a Society Without Ceremony or the Critical Question of Theatre
Mário Gomes
The Poetics of Architecture
John Donne
Paradox I
Barbara Basting
Der Algorithmus und ich 7
Haus am Gern
L’œuvre d'art n’a pas d’idée, elle est idée (Blog1)
In Jugoslawien wurde viel publiziert und wenig weggeworfen. So hatte man die Möglichkeit, in staatlichen Galerien und Museen Ausstellungskataloge und Kunstzeitschriften für Pfennige zu schießen. Einen besonderen Platz in meinem...
Bearded Ladies, Dwarfs and Giants, Hermaphrodites, Siamese Twins (see Heng and Chang on the book cover), the Mule-headed Lady, The Serpent-Woman, The Amazing Half-Boy (famous for his appearance in Tod...
Capt. Norman Macmillan:
How to Pilot an Aeroplane,
George Allen & Unwin LTD: London 1942,
first edition, 110 pages
This book told me just what I had to know before...
L’œuvre d'art n’a pas d’idée, elle est idée
Vonceptually sensory bills of fare, enumerations and selections…
Following Georges Perec’s Memory 480: "I remember… (to be continued…)"…
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.