The Assistant Chef
Une Trinite de la Memoire
Who I Really Am
Modifications infimes et considérables
Your Sprache Never Was
Questionnaire Nicole Bachmann
Rolf Bossart, Milo Rau
Futurama Nights, October 1978
Jelili Atiku, Damian Christinger
Venice, Lagos, and the Spaces in between
The Man from Venice
Questionnaire Aya Momose
The Transversal Shelf of Printed Books in Times of Accelerated Opaque Media
Der Algorithmus und ich (2)
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.
Ich erinnere mich an mein Exemplar von Alles kurz und klein, das weg ist, verschwunden! – wer erinnert sich, es...
A Little Paris Nightmare
I loved Paris, even as a little boy, long before I lived there. I was like Pinocchio wandering about in some strange Land of Toys. I...
Quand j’étais enfant, près de la maison ou j’habitais, il y avait une voie ferrée. Avant de m'endormir, j’entendais...
Raucous time capsules, rare jewels, and indispensable bulky goods from all epochs, languages, and genres.
Vonceptually sensory bills of fare, enumerations and selections…
…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…
Red oder Blue? Welche Götter? What’s wrong with reality? Nord oder Süd? Wie sterben? What is the problem with solutions?
»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.«
Dire works on the bogus regime—not just of art—but endowed with wit, beauty and irresistible fetish character.