Emma Waltraud Howes
Questionnaire Emma Waltraud Howes
Marie Glassl, Sophie Lewis
Stellvertretende Abschaffung
Andreas L. Hofbauer
Ersatzkaffeelesen
Marie Glassl, Sophie Lewis
Surrogate Abolition
I.V. Nuss
The Love in the Convex, in Absolute Roundness and the Sluttification of All Men West of the Bosporus
Dan-el Padilla Peralta
Junk Philology. An Anti-Commentary
Donatien Grau
A Life in Philology
Johanna Went
I remember (Johanna Went)
Donatien Grau, James Spooner
Afropunk Philology
Felix Stalder
Feedback als Authentitzität
A. L. Kennedy
Was ist ein Autor?
Michael F. Zimmermann
Courbet als Assyrer
Mehdi Belhaj Kacem
Tomb for Guy Debord
Jean-Luc Nancy
Après les avant-gardes
Lars von Trier in Conversation with Mehdi Belhaj Kacem & Raphaëlle Milone
Johannes Binotto
Shrewing the tame
Jean-Luc Nancy
Zah Zuh
Jean-Luc Nancy
Zah Zuh
Barbara Basting
Der Algorithmus und ich 7
A.K. Kaiza
Eine kommentierte Geschichte Wakandas
Joseph Morder
Une Trinite de la Memoire
Elena Vogman
Dynamography, or Andrei Bely’s Rhythmic Gesture
Dietmar Dath
Your Sprache Never Was
Wolfgang Plöger
After This Comes That Before That Comes This
Stephen Barber
A War of Fragments: World Versus America
Jelili Atiku, Damian Christinger
Venice, Lagos, and the Spaces in between
Ann Cotten
Dialogs
Mário Gomes
The Poetics of Architecture
Artur Zmijewski
Gespräch über ‚Glimpse‘
Aya Momose
Questionnaire Aya Momose
Blixa Bargeld
LISTMANIA: ABT. DIE DUEMMSTEN BERLINER FRISÖRNAMEN
What do I remember? My memories of my life have always been very limited. I only remember single fragments, good...
A Little Paris Nightmare
I loved Paris, even as a little boy, long before I lived there. I was like Pinocchio...
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...
Apfel oder Zitrone? Remembering, what do you hear? Wie sterben? Nord oder Süd? A question to which “yes” is always your answer?
DIAPHANES fragt nach Relikten von Zukunftsvisionen in den Bildräumen der Vergangenheit, nach Spuren und Signaturen eines einst Vorstellbaren und zeitlos Möglichen.
L’œuvre d'art n’a pas d’idée, elle est idée
Nicht im Dienste irgendeines Wissens oder Spekulierens will dieses fortlaufende Register Eintragungen über Vorstellbares ansammeln: Namen, Objekte, Phänomene, Singularitäten.
Meine Sprache
Deutsch
Aktuell ausgewählte Inhalte
Deutsch, Englisch, Französisch
»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.