Mehdi Belhaj Kacem
Tombeau pour Guy Debord
I Hate the Avant-garde
Hans Block, Moritz Riesewieck
What we don’t see
Wong Ping’s "Who’s the Daddy"
Alexander García Düttmann
Der Algorithmus und ich 5
Michael Heitz, Hendrik Rohlf
Uma’s Face—Thurman’s Voice
The Next Bit. Corpo a corpo con l’ignoto
Maria Filomena Molder
The Alms of Time
Damian Christinger, Monica Ursina Jäger
A War of Fragments: World Versus America
Elapsing Time and Belief in the World
After This Comes That Before That Comes This
Alexander García Düttmann
Can There Be a Society Without Ceremony or the Critical Question of Theatre
Conversation on “Glimpse”
Bang Bang on the Stair
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.
So wie geplant kommt es ja selten, meistens ergibt sich etwas halt so. Das ist weniger der Zustand der Welt...
Ich erinnere mich an mein Exemplar von Alles kurz und klein, das weg ist, verschwunden! – wer erinnert sich, es...
I remember during the frozen Tokyo winter of 1997: I took long walks in the dead of night through the...
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.
The post I’m now sharing was somewhat unsettling: “Barbara joined Facebook 6 years ago!”
Raucous time capsules, rare jewels, and indispensable bulky goods from all epochs, languages, and genres.
…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…
»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.