Autonomy and Negation in Theodor W. Adorno

Die Währung des Wortes

Problematizing Rubens’ Winter

How can we break the ahistoric informatic screens in the laboratories and camps of this world that take away the eyes and parts of the bodies today as we‘re governed by opaque oceans of data?

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

Stratigraphische Bilder. Neue Ästhetiken der Montage?

Je sais, mais quand même

The current crisis of democracy is the conjunction of a state of affairs that cannot and doesn’t want to change.

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

Instead of accepting speculative endeavours as reflections of the present in the future, enabling diffractive viewpoints within the world can help us engage into a deeper analysis of how speculations can actually come to be.

Die Welt zu Gast im Teutoburger Wald

Art is aperture of the world.

The precarious and the immune are no longer only in a relation of opposites in post-Fordist societies, but rather more and more also in a relation of overlapping, tending, in fact, to become indistinguishable.

Un_bewegt

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.

Governmental Precarization

To Much Future/To Much Time

Stimme und Verfremdung am Theater

Haven’t We Always Been Precarious?

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