Mama Say Make I Dey Go, She Dey My Back
Mama Say Make I Dey Go, She Dey My Back

Jelili Atiku, Damian Christinger

Venice, Lagos, and the Spaces in between

Wandering down the Riva S. Biasio I gaze at the superyachts, thronged at the quay, and the African street vendors selling cheap knock-off handbags: poor immigrants trying to make a living contrasted with the absurdly wealthy visiting one of the great gatherings of the globalized art world. This image has become a sort of a cliché, especially during the last edition of the Biennale di Venezia, curated by Okwui Enwezor, with its emphasis on art from the global South and...
  • Körper
  • Feminismus
  • Afrika
  • Kolonialismus
  • Performance
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Dauerausstellung »Gesichtsüberwachungsschnecken« von Yves Netzhammer

05.09.2017 – 05.09.2018

U-Bahn-Station Altes Landgut (U1)
1100 Wien

Straub/Huillet: Sagen Sie's den Steinen

13.09.2017 – 19.11.2017

Akademie der Künste
Hanseatenweg 10
10557 Berlin

Buchvernissage: Performance Chronik Basel (1987–2006)

13.11.2017, 18:00

Kunsthaus KuLe
Auguststrasse 10
10117 Berlin

Sturm auf den Winterpalast: Geschichte als Theater

23.09.2017 – 25.10.2017

Gessnerallee Zürich
Gessnerallee 8
8001 Zürich



Essays on Photography by Siegfried Kracauer
Essays on Photography by Siegfried Kracauer

Siegfried Kracauer, Philippe Despoix (Hg.), ...

The Past's Threshold

There can be no doubt, however, that in Kracauer’s texts published at the turn of the 1920s and the 1930s from his position as an editor of the cultural pages at the daily newspaper Frankfurter ­Zeitung, then in the 1950s during his American period, he sketches out a theorisation of photography that can be described as groundbreaking. But it is also true that most of his works overlap, in more than one way, with this medium of reproduction or that...
  • Fotografie
  • Siegfried Kracauer
  • Medientheorie
  • Geschichte der Fotografie
  • Film
Aktuelle Texte

Alain Badiou

Mieux vaut ne rien faire que

 1. L’art n’est pas la descente sublime de l’infini dans l’abjection finie du corps et du sexe. Il est au contraire la production, par le moyen fini d’une soustraction matérielle, d’une série subjective infinie.


2. L’art ne saurait être expression de la particularité, qu’elle soit ethnique ou moïque. Il est la production impersonnelle d’une vérité qui s’adresse à tous.


3. La vérité dont l’art est le processus est toujours vérité du sensible, en tant que sensible. Ce qui veut dire : transformation du sensible en événement de l’Idée.


4. Il y a nécessairement pluralité des arts, et quelles que soient les intersections imaginables, aucune totalisation de cette pluralité n’est, elle, imaginable.


5. Tout art est venu d’une forme impure, et la purification de cette impureté compose l’histoire, et de la vérité artistique, et de son exténuation.


6. Les sujets d’une vérité artistique sont les œuvres qui la composent.


7. Cette composition est une configuration infinie, qui,...

  • Kunstwerk
  • Alain Badiou
  • Kunst
  • Gegenwartskunst
  • Ästhetik
Aktuelle Texte

Thomas Hirschhorn

»I lead a battle«

During my »Très grand Buffet« show in Fribourg, someone noticed that the works from the »Virus«, »Merci, Danke, Thank You« and »Les larmes« series were done in ball-point pens. And this person asked if I drew with »Bic« ball-point pens and said that the company »Bic« is a financing supporter of Le Pen. An information in an official journal on the financing of political parties announced this fact. It’s shit to support Le Pen. But it’s also shit to have to think about these questions.

  • Polemik