The power of a cultural production resides not in its ability to immediately modify the present, but in its capacity to influence the future.

Haven’t We Always Been Precarious?

Governmental Precarization

Die Welt zu Gast im Teutoburger Wald

Problematizing Rubens’ Winter

Autonomy and Negation in Theodor W. Adorno

The Hegemony of the Vision Machine

Le Désir attrapé par la queue

It is necessary to promote and ensure the democratic “distribution of the sensible”.

Towards a New Art Criticism From Latin America

Aesthetics: And Smooth and Striated Space, 572-82.

Stratigraphische Bilder. Neue Ästhetiken der Montage?

Distanzierung, ihr Ergebnis, legt nicht nur den objektiven Charakter des Kunstwerks frei.

The fetish for glow, the iridescence, and shimmer growing over our bodies like a skin made of light, cannot be detached by references to enhancement, the almost untouchable, the undying dream of artificial.

In Walter Benjamin’s understanding, the use of allegory is
typical of Baroque Art: Man acknowledges his guilty passion for this world in the moment of its decay.

One of the tasks of art criticism is 
to make evident the discursive qualities of artistic creation.

Der Teutoburger Wald enthält auch die Selbstverklärung zum edlen, wilden Germanen und lädt darin zur Selbstexotisierung ein.

Die Währung des Wortes

Under post-Fordist conditions, the capitalisation of the immaterial work has managed to be integrated into artistic labour.

Die Stimme dient also nicht nur der Sprachvermittlung, sondern auch als Zeichen des anwesenden Körpers.