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?

Art is aperture of the world.

To Much Future/To Much Time

Repetition is not different to the pathos of a “creative destruction”.

Problematizing Rubens’ Winter

Androids, cyborgs, and avatars are new territories beyond the body’s biological condition. However, these territories ought to be also a discursive extension, where new identities, categories, and values can coexist.

Stimme und Verfremdung am Theater

Doch die Friedhofsruhe, die jetzt andächtig um Kiefers Werk verbreitet wird, ist aus dem gleichen Stoff, wie die hysterischen Abgrenzungsversuche, weil beides dem Werk äußerlich bleibt und aus deutschen Projektionen besteht.

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.

(De)generative Art: Rules-transgressing Algorithms

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

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

Wie prägen die technischen Interfaces unseren Blick?

Precarious body/images

Peter Sloterdijk thinking of Theodor W. Adorno’s birthday

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

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.

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.

Stratigraphische Bilder. Neue Ästhetiken der Montage?