Barbara Vinken
Geistige Mütter
Marie Glassl, Sophie Lewis
Surrogate Abolition
Andreas L. Hofbauer
Ersatzkaffeelesen
I.V. Nuss
The Love in the Convex, in Absolute Roundness and the Sluttification of All Men West of the Bosporus
Donatien Grau, James Spooner
Afropunk Philology
Donatien Grau
A Life in Philology
Sina Dell’Anno
Punk / Philology
Emanuele Coccia
Le futur de la littérature
Dan-el Padilla Peralta
Junk Philology. An Anti-Commentary
Mengia Tschalaer
Queer Spaces
Zoran Terzić
The Grand Generalization
Tom McCarthy
Toke My Asymptote – or, The Ecstatic Agony of Appearance
Claire Fontaine
Towards a Theory of Magic Materialism
Mehdi Belhaj Kacem
Grabmal für Guy Debord
Sandra Frimmel
Ich hasse die Avantgarde
Jean-Luc Nancy
Après les avant-gardes
Christian Beetz, Hendrik Rohlf
Katalysatoren der Radikalisierung
Ines Kleesattel
Art, Girls, and Aesthetic Freedom Down Below
Barbara Basting
Der Algorithmus und ich 6
Michael Heitz
Wong Ping’s "Who’s the Daddy"
Lars von Trier im Gespräch mit Mehdi Belhaj Kacem & Raphaëlle Milone
Barbara Basting
Der Algorithmus und ich 6
Jochen Thermann
The Assistant Chef
Helmut J. Schneider
How Distant Can My Neighbor be?
A.K. Kaiza
Eine kommentierte Geschichte Wakandas
Jochen Thermann
Der Hilfskoch
Stephen Barber
Krieg aus Fragmenten: World Versus America
Nicole Bachmann
Questionnaire Nicole Bachmann
Manuel Franquelo
An interview with Manuel Franquelo
Eric Baudelaire
Abecedarium
Ann Cotten
Dialoge
Ann Cotten
Dialogs
Artur Zmijewski
Conversation on “Glimpse”
Hendrik Rohlf
Richard Prince (Book)
Johanna Went
I remember (Johanna Went)
Haus am Gern
L’œuvre d'art n’a pas d’idée, elle est idée (Blog1)
Es sei uns gestattet, hier einmal sämtliche Gründe aufzuzählen, warum wir von Schach nichts halten.
1. Es ist ein...
1. Tell the Earth, “I love you. I can’t live without you."
2. At first you may feel embarrassed...
Nicht im Dienste irgendeines Wissens oder Spekulierens will dieses fortlaufende Register Eintragungen über Vorstellbares ansammeln: Namen, Objekte, Phänomene, Singularitäten.
…rather alarms, to truth to arm her than enemies, and they have only this advantage to scape from being called ill things, that they are nothings…
In der Folge von Georges Perecs Erinnerung 480: "Ich erinnere mich… (Fortsetzung folgt…)"
Apfel oder Zitrone? Remembering, what do you hear? Wie sterben? Nord oder Süd? A question to which “yes” is always your answer?
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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.