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Eric Baudelaire . Abecedarium . . . . . Alexander García Düttmann . Kann es eine Gesellschaft ohne Feier geben oder Die kritische Frage des Theaters . . . . . Stephen Barber . Futurama Nights, October 1978 . . . . . Jelili Atiku, Damian Christinger . Venice, Lagos, and the Spaces in between . . . . . Mário Gomes . Poetik der Architektur . . . . . Ann Cotten . Dialoge . . . . . Jurij Pavlovich Annenkov . A Diary of my Encounters . . . . . Artur Zmijewski . Conversation on “Glimpse” . . . . . Rolf Bossart, Milo Rau . Über Realismus . . . . . Diane Williams . Bang Bang on the Stair . . . . . A Questionnaire: Tom Kummer . . . . . A swansong. Death in Venice, reenacted . . . . . Bruce Bégout . L’homme de Venise . . . . . Bruce Bégout . The Man from Venice . . . . . Artur Zmijewski . Gespräch über ‚Glimpse‘ . . . . . Mário Gomes . The Poetics of Architecture . . . . . Alexander García Düttmann . Can There Be a Society Without Ceremony or the Critical Question of Theatre . . . . . Bruce Bégout . Der Mann aus Venedig . . . . . Jelili Atiku, Damian Christinger . Venedig, Lagos und der Raum dazwischen . . . . . Ann Cotten . Dialogs . . . . . Rolf Bossart, Milo Rau . On Realism . . . . . Diane Williams . Rums Bums auf der Treppe
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A for Anomie

Eric Baudelaire

We cannot assume that all government/terrorist interactions will take the form of a two-person zero-sum game. OPEN
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Stephen Barber

Twenty-four hours in state of unconsciousness

Now this spectral city will become the site for execrations and lamentations, now time itself will disintegrate and void itself… ABO
Mama Say Make I Dey Go, She Dey My Back

Jelili Atiku, Damian Christinger

The key to survival will lay in female hands. OPEN
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DIAPHANES No. 11
DIAPHANES Magazine No. 11

Pregnancy is the weirdest condition

The seahorse is the chosen metaphor for pregnant trans men ABO DE

I.V. Nuss

The Love in the Convex, in Absolute Roundness and the Sluttification of All Men West of the Bosporus

Bang Bang Baroque

On the first gaze the works of Emma Waltraud Howes seem incongruously out of time. Visiting her studio, one enters... ABO

Emma Waltraud Howes

Questionnaire Emma Waltraud Howes

On Gestational Communism

“If you love your family, you want family abolition for them!” ABO DE

Marie Glassl, Sophie Lewis

Surrogate Abolition

DIAPHANES No. 10
DIAPHANES MAGAZINE No. 10

I remember

I remember during the frozen Tokyo winter of 1997: I took long walks in the dead of night through the Shinjuku Kabuki-cho district of endless bars, subterranean clubs and abandoned cinemas with Donald Richie, the American writer and film-maker, already in Tokyo for over forty ­years at that moment and...

Johanna Went

I remember (Johanna Went)

It was another 75° day in LA.

Where do you go when you disappear? OPEN
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Kim Gordon

The Pitch

All that pent up terror and rage

A stupid tweet by a nobody, meant as a parody, somehow goes viral and the internet offers up death threats. OPEN
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Dodie Bellamy

Plague Widow

The Disobedience of the Word

“He always read Priam instead of ‘prime’.” OPEN
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Sina Dell’Anno

Punk / Philology

Sex creates love and love creates sex

“I don’t believe in progress, no.” OPEN
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Dennis Cooper, Donatien Grau, Richard Hell

"I’d rather live in a book"

DIAPHANES No. 8/9
DIAPHANES MAGAZINE No. 8/9

Artificial and Other Intelligences

Facebook’s picture tumbler is currently reminding me of my first visit to China a year ago. I was impressed: so many skyscrapers, so many people, so much technology! And such wonderful noodle soups! I put a few impressions on my Facebook timeline, even though Facebook is blocked by China’s Great...

Barbara Basting

Der Algorithmus und ich 7

Each showroom has a couple of “managers”.

Do I really know the person I’ve watched every day on screen for months? I know many things, like where... ABO DE

Present.Perfect.

Ecstasy of inauthenticity

The question of authenticity and I go back some way; we’re old sparring partners – frenemies. It’s been a fraught relationship, shot through with paradox and misconstruing. My first novel, Remainder, does turn around its protagonist’s obsession with becoming ‘real’, inhabiting his era or his city, building, skin, movements and... ABO DE

Tom McCarthy

Toke My Asymptote – or, The Ecstatic Agony of Appearance

Practice in collective destruction

We recklessly count on ethics coming from somewhere other than a practice only offered by party politics or activism, from which the majority population excludes itself. The panic invocation of Christian values shows the extent of the dilemma here: please come up with something, anything, that will make people behave... OPEN
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Kai van Eikels

Do in What's Doing, Democracy in!

Upending meanings and rewriting sanity

When it all burns you’ll know – a writer was there at the first… ABO DE FR

A. L. Kennedy

What is an Author?

DIAPHANES No. 6/7
DIAPHANES MAGAZINE No. 6/7

How could Dante be avant-garde?

Mehdi Belhaj Kacem, Philippe Sollers

What is the Meaning of the Avant-garde’s Death?

He would say “Never work!”

Old-school publisher, avant-garde dandy, undisputed expert on the global history of Dada: Raphaëlle Milone paints an intimate but unsparing portrait... ABO FR

Raphaëlle Milone

Dachy Alive

Charlemagne Rides through Paris

Facebook’s algorithm has served up memories of my Turkish travels often enough, but now it’s taking countermeasures and suddenly presenting quite different entries from my so-called timeline. For example, this blurred photograph of an equestrian statue of Charlemagne, unfortunately barely visible, with vassals. I had noticed him a few years ago...

Barbara Basting

Der Algorithmus und ich 6

Guy Debord was the avant-garde’s Christ.

Mehdi Belhaj Kacem looks back and ahead in the light of the spectacle of aesthetic capitalism, which has become even... ABO FR DE

Mehdi Belhaj Kacem

Tomb for Guy Debord

Everything new is a pose in the alcoves of capital

In the late nineteenth century Alfred Jarry created a prototype of the modern wannabe in his pot-bellied Père Ubu, a figure that raises entitlement to a high art. Ubu doesn’t want to be king; others urge him to it. But he is also the others. And when he does become... OPEN
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Zoran Terzić

The Tautomaniac

DIAPHANES NO. 5
DIAPHANES MAGAZINE No. 5

Blood!

Thérèse ayant douleurs menstruelles could be a beginning. OPEN
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Ines Kleesattel

Art, Girls, and Aesthetic Freedom Down Below

»Self-censorship is the worst.«

»Three hundred people left The House that Jack Built. I think that’s very good, and it wasn’t Cannes.« ABO DE

Lars von Trier in Conversation with Mehdi Belhaj Kacem & Raphaëlle Milone

Be Jack!

Like no other actor, Uma Thurman bears a face as a trace of itself. The most recent emanation of this... OPEN
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Michael Heitz, Hendrik Rohlf

Uma’s Face—Thurman’s Voice

The yoke of being, noteworthy dis-position

It wasn’t nature and its dangers that forced domestication and enabled the economic shrine. Temple and funerary cult, sacrifice and distribution of the meat—for Homer all sacrificial animals were still hieria, holy creatures—and the containment of wildness led to symbolic and socio-cultural change, which became the vector and motor of... OPEN
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Andreas L. Hofbauer

Yoke

Nothing is at home

Philosophy is found wanting. It is considered anachronistic, some say dead. The tradition is in ruins. ABO

Phenomena in Exile

DIAPHANES No. 4
DIAPHANES MAGAZINE No. 4

Artificial and Other Intelligences

Facebook’s picture tumbler is currently reminding me of my first visit to China a year ago. I was impressed: so many skyscrapers, so many people, so much technology! And such wonderful noodle soups! I put a few impressions on my Facebook timeline, even though Facebook is blocked by China’s Great...

Barbara Basting

Der Algorithmus und ich 7

Ζένοι και Zah και Zuh

Ξένος extraneus του έξω όχι του μέσα (intraneus) όχι της οικίας unheimlich όχι του heim όχι της εστίας της άλλης πλευράς της πόρτας – fores, foreigner όχι υπερβολικά στον ρυθμό, odd όχι κανονικός όχι συνήθης σπάνιος ιδιάζων seltsam παράξενος besherat γενναίος κομψός απρόβλεπτος στραβός verschroben λοξός αναπάντεχος εξαιρετικός εκπληκτικός   Είναι εκπληκτικό... OPEN
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Jean-Luc Nancy

Zah Zuh

Black Panther is an American, not an African story

In another era, the mish-mash presentation of Africa would have been the focal point of criticism. But this is not... OPEN
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A.K. Kaiza

An Annotated History of Wakanda

Your story begins with a tunnel.

I’m standing in my perfectly fitting uniform with its freshly-pressed swastika armband in a long line at an American office. I’m waiting to submit my Application for Total War. Then, after standing in line for hours, the friendly clerk tells me that I need The Application for Foreign Aggressions in... OPEN
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Angelika Meier

Who I Really Am

I really should not have hired him…

I really should not have hired him, but he seemed like he could fill in for my regular cook. Schneider had called in sick it seemed like it could drag on, so I took him on without too much fuss. He was a stocky, small man who could speak only... ABO DE FR

Jochen Thermann

The Assistant Chef

DIAPHANES NO. 3
DIAPHANES MAGAZINE No. 3

Digital disrupture

We really need an analysis of algorithmic conditions and their paradoxes and ambiguities that gives them an adequate framework and horizon. But instead we currently seem to be finding an algorithmic solution of the algorithmic, much as digital solutions are being offered for the problems of the digital public sphere,... OPEN
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Dieter Mersch

Digital Criticism

After This Comes That Before That Comes This

Wolfgang Plöger

After This Comes That Before That Comes This

I say

Nicole Bachmann’s latest work, I say, has the performer practice a text, sense a word in the mouth, calling it... ABO

Nicole Bachmann

Questionnaire Nicole Bachmann

­Pioneering!

"Trying to compete in the economy of attention from the field of contemporary art is a naive goal in the... OPEN
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Manuel Franquelo

An interview with Manuel Franquelo

Facebook’s Just a Nail Studio

I noticed this pattern for fingernail decoration four years ago in the window of a “nail studio” in Salisbury, south-west England. Nail studios had begun to interest me because I supposed them to be something like sociological indicator plants. How dumb or despairing must a women be to want to...

Barbara Basting

Der Algorithmus und ich 3

DIAPHANES NO. 2
DIAPHANES MAGAZINE No. 2

Twenty-four hours in state of unconsciousness

Now the dead will no longer be buried, now this spectral city will become the site for execrations and lamentations, now time itself will disintegrate and void itself, now human bodies will expectorate fury and envision their own transformation or negation, now infinite and untold catastrophes are imminently on their... ABO

Stephen Barber

Futurama Nights, October 1978

Humanity is a metahuman concept.

We are bodies. It makes no sense to debate this. OPEN
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Rolf Bossart, Milo Rau

On Realism

Hurrah!

We rehearsed the crowd scenes in the Winter Palace, in the Throne Room and the Armorial Hall. ABO

Jurij Pavlovich Annenkov

A Diary of my Encounters

“Poetry must be made by all. Not by one.”

“Nuestro Norte es el Sur” = “Our North is the South.” OPEN
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Mário Gomes

The Poetics of Architecture

A Questionnaire: Tom Kummer

I got to know Tom Kummer in 2006 while editing his book Blow Up in nighttime telephone calls to Los...

Tom Kummer

Questionnaire Tom Kummer

DIAPHANES No. 1
DIAPHANES MAGAZINE No. 1

BIG BUGS

Forever! Star Shame! Cheat War Wedding Psych Suicide Dying! Love

Beni Bischof

LISTMANIA: BIG BUGS

Who is the bait? Who is the catch?

Dire works on the bogus regime—not just of art—but endowed with wit, beauty and irresistible fetish character.

Luc Meresma

Natural Enemies

Part Dieu. The Painting of Francisco Sierra

You have to imagine Francisco Sierra as a cheerful painter. ABO DE

Michael Heitz

Another New God in Parts

I remember

Following Georges Perec’s Memory 480: "I remember… (to be continued…)"…

Je me souviens

Quaddie

“Quaddie” is a term awaiting political correction, but how else should we describe the four-armed workers genetically engineered for three fall environments? The Quaddies are the legal property of a mining company. As “post-fetal experimental tissue cultures,” they’re too many links down the Great Chain to share human rights and protections. A...

Tyler Coburn

Quaddie

 

I remember

Taking a lead from Joe Brainard and Georges Perec, DIAPHANES wishes to initiate personal, cultural, and historical reminiscence. Not simply the evocation of a collective memory but the opening up of significantly charged past moments to a future perspective, the deflection of retrospect into prospect, and—not least in times of political restoration—the necessary liberation of the imagination from other pasts and outmoded utopias.

I remember

Urs Engeler, 03.07.2017

Ich erinnere mich an mein Exemplar von Alles kurz und klein, das weg ist, verschwunden! – wer erinnert sich, es...

I remember

Marie Brassard, 03.07.2017

La soif

Quand j’étais enfant, près de la maison ou j’habitais, il y avait une voie ferrée. Avant de m'endormir, j’entendais...

I remember…

Stephen Barber, 24.03.2017

I remember during the frozen Tokyo winter of 1997: I took long walks in the dead of night through the...

Other columns
Magazine Special

Diane Williams

How about some string?

I said “Would you like a rope? You know that haul you have is not secured properly.”

I said “Would you like a rope? You know that haul you have is not secured properly.”
“No,” he said, “but I see you have string!”
“If this comes into motion—” I said, “you should use a rope.”
“Any poison ivy on that? ” he asked me, and I told him my rope had been in the barn peacefully for years.
He took a length of it to the bedside table. He had no concept for what wood could endure.
“Table must have broken when I lashed it onto the truck,” he said.
And, when he was moving the sewing machine, he let the cast iron wheels—bang, bang on the stair.
I had settled down to pack up the flamingo cookie jar, the cutlery, and the cookware, but stopped briefly, for how many times do you catch sudden sight of something heartfelt?
I saw our milk cows in their slow...

ABO DE
Magazine Special
About ‘how we treat the others’

Artur Zmijewski

About ‘how we treat the others’

“There is something deeply humiliating in such a situation.”

OPEN
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»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

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