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
Marie Glassl, Sophie Lewis
Surrogate Abolition
Donatien Grau, James Spooner
Afropunk Philology
Sina Dell’Anno
Punk / Philology
Simon Critchley
Learning to Eat Time with One’s Ears
Johanna Went
I remember (Johanna Went)
Donatien Grau
A Life in Philology
Claire Fontaine
Towards a Theory of Magic Materialism
Tom McCarthy
Toke My Asymptote – or, The Ecstatic Agony of Appearance
Kai van Eikels
Do in What's Doing, Democracy in!
A. L. Kennedy
What is an Author?
Zoran Terzić
The Grand Generalization
Mehdi Belhaj Kacem, Philippe Sollers
What is the Meaning of the Avant-garde’s Death?
Barbara Basting
Der Algorithmus und ich 6
Zoran Terzić
The Tautomaniac
Ines Kleesattel
Art, Girls, and Aesthetic Freedom Down Below
Alexander García Düttmann
Cold Distance
Sina Dell’Anno
Oratio Soluta
Jean-Luc Nancy
Zah Zuh
Jochen Thermann
The Assistant Chef
Zoran Terzić
Political Transplants
Maria Filomena Molder
The Alms of Time
Joseph Morder
Une Trinite de la Memoire
Stephen Barber
A War of Fragments: World Versus America
Wolfgang Plöger
After This Comes That Before That Comes This
Dieter Mersch
Digital Criticism
Rolf Bossart, Milo Rau
On Realism
Tom Kummer
Questionnaire Tom Kummer
Eric Baudelaire
Abecedarium
Ann Cotten
Dialogs
Barbara Basting
Der Algorithmus und ich 4
Barbara Basting
Der Algorithmus und ich 3
Luc Meresma
Capt. Norman MacMillan (Book)
Barbara Basting
Der Algorithmus und ich 1
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...
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.
Vonceptually sensory bills of fare, enumerations and selections…
L’œuvre d'art n’a pas d’idée, elle est idée
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.