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Alexander García Düttmann . Kalte Distanz . . . . . Michael Heitz, Hendrik Rohlf . Umas Gesicht – Thurmans Stimme . . . . . Johannes Binotto . Shrewing the tame . . . . . I remember . . . . . Axel Dielmann . Die Schneiderin . . . . . Christian Beetz, Hendrik Rohlf . Katalysatoren der Radikalisierung . . . . . Sina Dell’Anno . Oratio Soluta . . . . . Malte Fabian Rauch . Phenomena in Exile . . . . . Ines Kleesattel . Kunst, junge Mädchen und die ästhetische Freiheit untenrum . . . . . Charlemagne Rides through Paris . . . . . Artificial and Other Intelligences . . . . . Alban Nikolai Herbst . Die Brüste der Béart . . . . . Andreas L. Hofbauer . Joch . . . . . Hans Block, Moritz Riesewieck . Was wir nicht sehen . . . . . Behind the Great Firewall . . . . . . Lars von Trier in Conversation with Mehdi Belhaj Kacem & Raphaëlle Milone . . . . . Drag-nets . . . . . Sylvia Sasse . Operative Zensur . . . . . Michael Heitz . Wong Pings "Who’s the Daddy" . . . . . Andreas L. Hofbauer . Yoke . . . . . Axel Dielmann . The Dressmaker . . . . . Johannes Binotto . Shrewing the Tame . . . . . Michael Heitz . Wong Ping’s "Who’s the Daddy" . . . . . Michael Heitz, Hendrik Rohlf . Uma’s Face—Thurman’s Voice . . . . . Alexander García Düttmann . Cold Distance . . . . . Hans Block, Moritz Riesewieck . What we don’t see . . . . . Sina Dell’Anno . Oratio Soluta . . . . . Ines Kleesattel . Art, Girls, and Aesthetic Freedom Down Below . . . . . . Lars von Trier im Gespräch mit Mehdi Belhaj Kacem & Raphaëlle Milone

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DIAPHANES MAGAZINE No. 8/9
DIAPHANES MAGAZINE No. 6/7

Camouflaged with a visual language

Malte Fabian Rauch

Where the Negative Holds Court

 

Artificial and Other Intelligences

Barbara Basting, 04.12.2019

Facebook’s picture tumbler is currently reminding me of my first visit to China a year ago. I was impressed: so...

Behind the Great Firewall

Barbara Basting, 26.10.2018

I sit in the lobby of a hotel in China where I am accommodated along with other guests of an...

Boutiques on the Bosporus

Barbara Basting, 10.04.2018

I’m no longer very happy with Facebook. Recently the algorithm seems to be taking the platform into total despotism. And...

12 May 2011 – 12 May 2017: On Non-Digital Storage Media

Barbara Basting, 24.03.2017

The Facebook algorithm has noticed that I have something to do with art and museums, and presents me with a...

Other columns
  • Future Pluperfect

    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.

  • L’œuvre d'art n’a pas d’idée, elle est idée

    L’œuvre d'art n’a pas d’idée, elle est idée

    L’œuvre d'art n’a pas d’idée, elle est idée

  • LISTMANIA

    LISTMANIA

    Vonceptually sensory bills of fare, enumerations and selections…

  • I remember

    I remember

    Following Georges Perec’s Memory 480: "I remember… (to be continued…)"…

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English, French

»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

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