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

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

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.

Peter Sloterdijk thinking of Theodor W. Adorno’s birthday

Art is aperture of the world.

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?

Towards a New Art Criticism From Latin America

Le Désir attrapé par la queue

Dance-Mania

Stratigraphische Bilder. Neue Ästhetiken der Montage?

Algorithms still lack notions of ethics and excess, without which transgression is not possible.

Haven’t We Always Been Precarious?

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.

Autonomy and Negation in Theodor W. Adorno

Stimme und Verfremdung am Theater

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.

The smooth space is a space without fixed perspective.

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

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

Situated Speculations