Marie Glassl, Sophie Lewis
Surrogate Abolition
Emma Waltraud Howes
Questionnaire Emma Waltraud Howes
I.V. Nuss
The Love in the Convex, in Absolute Roundness and the Sluttification of All Men West of the Bosporus
Dennis Cooper, Donatien Grau, Richard Hell
"I’d rather live in a book"
Sina Dell’Anno
Punk / Philology
Simon Critchley
Learning to Eat Time with One’s Ears
Donatien Grau
A Life in Philology
Barbara Basting
Der Algorithmus und ich 7
Claire Fontaine
Towards a Theory of Magic Materialism
Zoran Terzić
The Grand Generalization
A. L. Kennedy
What is an Author?
Tom McCarthy
Toke My Asymptote – or, The Ecstatic Agony of Appearance
Zoran Terzić
The Tautomaniac
Barbara Basting
Der Algorithmus und ich 6
Mehdi Belhaj Kacem
Tomb for Guy Debord
Fritz Senn
Das Leben besteht aus gestrandeten Konjunktiven
Axel Dielmann
The Dressmaker
Ines Kleesattel
Art, Girls, and Aesthetic Freedom Down Below
Michael Heitz
Wong Ping’s "Who’s the Daddy"
Barbara Basting
Der Algorithmus und ich 6
Barbara Basting
Der Algorithmus und ich 5
Jean-Luc Nancy
Zah Zuh
Jochen Thermann
The Assistant Chef
Barbara Basting
Der Algorithmus und ich 4
A.K. Kaiza
An Annotated History of Wakanda
Elena Vogman
Dynamography, or Andrei Bely’s Rhythmic Gesture
Marcus Quent
Elapsing Time and Belief in the World
Manuel Franquelo
An interview with Manuel Franquelo
Mário Gomes
The Poetics of Architecture
Eric Baudelaire
Abecedarium
Artur Zmijewski
Conversation on “Glimpse”
Diane Williams
Bang Bang on the Stair
Alexander García Düttmann
Can There Be a Society Without Ceremony or the Critical Question of Theatre
Barbara Basting
Der Algorithmus und ich 3
The Transversal Shelf of Printed Books in Times of Accelerated Opaque Media
Ute Holl
Dream, Clouds, Off, Exile
Barbara Basting
Der Algorithmus und ich 7
Blixa Bargeld
LISTMANIA: ABT. DIE DUEMMSTEN BERLINER FRISÖRNAMEN
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...
Following Georges Perec’s Memory 480: "I remember… (to be continued…)"…
L’œuvre d'art n’a pas d’idée, elle est idée
Vonceptually sensory bills of fare, enumerations and selections…
Raucous time capsules, rare jewels, and indispensable bulky goods from all epochs, languages, and genres.
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.