In meinem Doktoratsprojekt „Crip Modes of Artistic Research“ erforsche ich soziale Bewegungen um „Behinderung“ in wechselnden historischen Räumen. Ziel ist es, alternative Erzählungen, Strategien der Aneignung und Verbindunglinien mit u.a. künstlerischen Mitteln aufzuzeigen. Die Arbeit verfolgt einen transdisziplinären Ansatz, der sich aus künstlerischer Perspektive den „Disability Studies“ nähert und sozialgeschichtliche, theoretische Bezüge herstellt. Es bringt diskursive Medien, Räume und Formate hervor, darunter eine regelmäßig veröffentlichte Zeitschrift (Crip Magazine) sowie andere künstlerische Formate.

Like a mighty river that flows and deviates from its course, this publication invites us on a journey to decipher the hidden predatory logic within the mechanisms of gold mining exploitation and the resulting socio-ecological devastation in the Guayana and Venezuela’s Amazon regions. More than a warning, What the Mine Gives, the Mine Takes presents a collective and sensitive cartography of this mining conflict through a diversity of art projects, poems, essays, diagrams, satellite visions, and documentary images.

Foreign words, paper, photos, colors, ashes, organic matter: two artists mix images and texts – shapes and words. Animals and humans meet, undergo metamorphoses and establish strange connections, as elastic and intimate as membranes.

„Wie ein Hund!“ sagte er, es war, als sollte die Scham ihn überleben. Mit diesem Satz beendet Franz Kafka seinen Roman „Der Prozess“ und benennt ein zentrales Thema seines Schaffens: Die Scham. Sie und viele andere mit dem Werk Kafkas verbundene Themen haben den Schriftsteller tatsächlich überlebt und als „kafkaesk“ eine allgemeingültige und immerwährende Eigenständigkeit erlangt.

Hans G Helms hat zwischen 1959 und 1968 drei Sprachkunstwerke geschaf- fen, die zu den fortschrittlichsten ihrer Gattunggehören:

Wen oder was wir als liebens- und begehrenswert empfinden, hängt mit Vorstellungen eines idealen Körpers, unseren Bildern von Mann und Frau, mit unserem Sinn für Schönheit und "Normalität" und natürlich mit unserer Stellung in der Gesellschaft zusammen. Das Bild von Liebe und Begehren, Erotik und Sexualität hat sich im Laufe der Geschichte immer wieder verändert. Das ist nicht zuletzt an der Un-/Sichtbarkeit gleichgeschlechtlich l(i)ebender Menschen abzulesen.

The book deals with the process of visualising music using the first movement of Mozart's Symphony in A major as an example.

„Sie lächelte mit einem anderen Ohr.“ / “And He smiled another ear.“ - Übersetzungsprogramme funktionieren mittels Datenbanken und algorithmischem Zugriff. Nebenbei produzieren sie semantische Fehler und ästhetische Extras, poetische Zufälle. …und diesen Einfall: das Kinderspiel „Stille Post“ mit google translate zu simulieren. Die Spielanleitung und eine Parole wieder und wieder per Rechner übersetzen: semantisch beschneiden und ästhetisch ausblühen lassen. Konkret:

Hermes erhält einen Anruf aus Rumänien: Das alte Haus in der strada Liviu Rebreanu ist verkauft worden. Warum hat er noch den Schlüssel zu dieser Wohnung in Sibiu? Vielleicht, weil sich das so ergeben hat. Vielleicht, weil diese Wohnung ein Treffpunkt ist am Anfang oder am Ende einer Reise. Vielleicht, weil er sich so einfacher auf den Weg machen kann zu den Orten, die Cluj heißen oder Chișinău, Odessa oder Gjumri, Iași, Šamorín oder Tampakika.

Am 25. September 1940 überquerte Walter Benjamin auf der Flucht vor den Nazis die Pyrenäen. Er hat das Tal auf der spanischen Seite bereits erreicht, hat ein Visum für die USA, die Transiterlaubnis durch Spanien nach Portugal hat er auch. Was er nicht hat, ist ein französisches Ausreisevisum. Die spanischen Grenzbeamten erlauben die Übernachtung in Port-Bou –

Nicht irgendein – mein Warenhaus! ÷ So titelte die letzte Ausgabe der Centrum-Rundschau 1989, ein kleines Betriebsblatt für alle Mitarbeiterinnen und Mitarbeiter des Leipziger Centrum Warenhauses, welches sich schon ein Jahr später in eine Karstadt-Filiale verwandeln sollte. 2019, dreißig Jahre danach, wurde es geschlossen. Den Verkäufer­innen hat man gekündigt. Ihr Kaufhaus steht leer, die Fontäne ist versiegt.

Ein Jahr lang bewegt sich der deutsche Forschungseisbrecher „Polarstern“, angefroren an einer Eisscholle, im arktischen Polarmeer. Seine Aufgabe: den Klimawandel und dessen Einwirkungen auf die Nordpolarregion zu erforschen. Das Expeditionsprojekt „MOSAiC“ – die Drift des Schiffes mit dem Meereis von Herbst 2019 bis Herbst 2020 – ist eines der größten und aufwändigsten Forschungsvorhaben der letzten Jahre.

Jean-Pierre Brisset, Raymond Roussel, Marcel Duchamp:
three men whose names are inextricably linked by their respective intellectual trajectories, creative processes, and reception histories. Similarities between them abound, and can also be perceived in minute biographical details, accidents, and coincidences. Their well-known penchant for treating aesthetic issues as issues of methodology provided all three of them with the impetus to devote themselves to technical innovations, which is maybe a lesser known aspect of their respective works.

Einsamkeit ist nicht Sache des isolierten Einen. Einsamkeit tritt ein, sobald die Andern wiederkehren, ob als Erinnerte, Vermisste oder Bedrohliche, ob als Lockende, Kämpfende oder Schwatzende. Einsamkeit ist ein Verhältnis. Ripplingers Essay betrachtet dieses Verhältnis an der Echo-Literatur von Gustave Flaubert und Uwe Nettelbeck, an Exil-Schriften von Victor Hugo, an Gedichten von Elizabeth Bishop und Emily Dickinson, an der Antipolitik von Maurice Blanchot, an Fabeln von Günther Anders und Ernst Bloch, aber auch an dem Melodram Portrait of Jennie von William Dieterle.

Bekannt ist Raymond Roussel als Ingenieur delirierend-phantastischer Wortwelten, bekannt sind seine Romane voller exotischer Rituale, theatraler Maschinen und blutiger Szenen. Ein anderer Roussel bleibt in seinen frühen Versdichtungen zu entdecken: ein Zeitgenosse Marcel Prousts, ein scharfer Beobachter der Gesellschaft, ein Meister der Ekphrasis und ein großer Humorist.

Due Magneti by artist A. Herms is a collection of day and dream texts that become interwoven into a narrative about the construction of roles. The banal is sacred, the dreams are treasures. Both the reflection of everyday occurrences and the ability to transform oneself in dreams offer possibilities to question and shape one's own biographical identity.

Are you an artist? Are you interested in studying art? Do you want to know what drives the art market? Or do you simply want to know how to become a successful artist? From the first-hand experience of a world-renowned artist, this book gives you a deep insight into the art world and reveals how you can become successful yourself.

Dieses Buch existiert in einer maskulinen und einer femininen Sprachfassung. Inhalt identisch. Bist du Künstler? Interessierst du dich für ein Kunststudium? Willst du wissen, was den Kunstmarkt treibt? Oder ganz einfach, wie man als Künstler erfolgreich wird? Aus den Erfahrungen eines weltbekannten Künstlers gewährt dir dieses Buch aus erster Hand einen tiefen Einblick in die Kunstwelt und zeigt dir, wie du deine Kunst und Karriere professionell angehen musst und dadurch erfolgreich werden kannst.

Der österreichische Künstler Lois Weinberger, Teilnehmer bei der documenta 1997 und 2017 und der Biennale von Venedig 2009, hat für die Kunststiftung NOW Esterhazy Contemporary zwei große Installationen realisiert: Das Projekt FELDWEG, das zu einer Art poetischer Reise durch den Renaissancegarten von Schloss Lackenbach einlädt, und die Skulpturenausstellung BASICS,

Friederike Mayröcker zählte zu den wichtigsten österreichischen Autorinnen ihrer Generation. Ihre poetischen und sehr persönlichen Zeichnungen nehmen eine einmalige Position im Werk der Schriftstellerin ein. Die Auswahl besorgte Frederike Mayröcker gemeinsam mit dem Kurator Hans Ulrich Obrist, einem langjährigen Wegbegleiter der Künstlerin.

The Secession Talks. Exhibitions in Conversation versammelt 46 Ausstellungsgespräche, die von 2011 bis 2022 in der Secession stattfanden. Die Gespräche spiegeln exemplarisch die Ausstellungsgeschichte der Secession in dieser Zeit wider. An ihnen waren Künstlerinnen mit ausgewählten Gesprächspartnerinnen beteiligt, unter ihnen auch

'When artefacts become pieces of evidence and artists are transfigured into fictional characters animated by their worship of Western art, culture shrinks into the narrow border of the state nation:" would state Tweetu, the weird curator and main suspect of the plot. Detective Elchmanyahu's auto-da-fe follows

Anna Grath ist Bildhauerin, deren Praxis – häufig sind es Wandarbeiten – vom Verknüpfen und Verbinden geprägt ist. Auch Das Regal ist eine fein konstruierte Montage von 204 einzelnen Buchseiten.

“Saint Louis in his prison in Damietta”, “A house engulfed in flames ...”, “A snowman, such as children build ...”: The painter and illustrator Henri-Achille Zo (1873–1933) received a total of 59 instructions of this kind in the early 1930s.

To Perform a Ferry is a book that holds eight performance scripts and other material to be spoken. Inspired by the figure of the renegade who leaves land behind and crosses the sea or leaves civilization to take refuge in the vast desert, the eight scripts embody the state of migrating, through space but also through languages, bodies, and writing genres. Written in English by Mohamed Abdelkarim.

In 1972, Ulises Carrión produced his first artist’s book SONNET(S) which consists on 44 variations of a sonnet by Dante Gabriel Rosetti titled “Heart’s Compass”. Using the language as a material, Carrión writes Rossetti’s poem over and over again on a typewriter, in slightly different versions.

X is an annual magazine focusing on visual culture and experimental literature: a collective artwork, a material flow of reality that eludes any prediction. X freezes on paper the power of contemporary art and writing, welcoming with joy the delirum of participating in such pursuits. Pain, battles, sequences of errors, vanished memories and unwanted prophecies; X is born because we can still be against everything and also against ourselves.

From one of the most lauded artists of his generation comes a purging soliloquy: a profound nowt delivered in some spent afterwards. Scorched by senility and nostalgia, and wracked by all kinds of hunger, Ed Atkins’ Old Food lurches from allegory to listicle, from lyric to menu, fetching up a plummeting, idiomatic and crabbed tableau from the cannibalised remains of each form in turn. Written in conjunction with Atkins’ exhibition of the same name, Old Food is a hard Brexit, wadded with historicity, melancholy and a bravura kind of stupidity. Ed Atkins is an artist who makes all kinds of convolutions of self-portraiture. He writes uncomfortably intimate, debunked prophesies; paints travesties; and makes realistic computer generated videos that often feature figures that resemble the artist in the throes of unaccountable psychical crises. Atkins’ artificial realism, whether written or animated, pastiches romanticism to get rendered down to a sentimental blubber – all the better to model those bleak feelings often so inexpressible in real life.

A performative reading of Old Food by Ed Atkins is available to listen to by clicking on this link:
https://soundcloud.com/ed-atkins-183631831/old-food-songs
Recorded at the theatre of Museum of Contemporary Art Kiasma in Helsinki on 29 February 2020, with songs throughout. Thanks to Sanni Pajula, Patrik Nyberg, Sonya Merutka and all at Kiasma. Courtesy Ed Atkins and Fitzcarraldo Editions. Copyright © Ed Atkins, 2019 and 2020.

In The Carrier Bag Theory of Fiction, visionary author Ursula K. Le Guin tells the story of human origin by redefining technology as a cultural carrier bag rather than a weapon of domination.

To write about someone else means both to expose and transform them. This is the dilemma of writing that Janet Malcolm describes as “morally indefensible.” In Doing Time: Essays on Using People, Kristian Vistrup Madsen deliberates on his correspondence with an inmate in a California prison named Michael. Over several years, this spawns a series of reflections about the politics of solidarity and

Rab-Rab Press announces the publication of “Free Jazz Communism“, a new book actualising Archie Shepp–Bill Dixon Quartet at the 8th World Festival of Youth and Students in Helsinki 1962.

Next Spring is an occasional series of reviews that offers a different approach to the writing of art criticism. Focused on the reading of one film work, each book in the series presents a parallel text on the artwork as both a critical response and literary production. The film selected and the text produced consider ecological issues, environmental concerns, and systematic revisionings. The language of place is given priority and image reproductions used nominally. Paris, May 16, the pilot issue, includes writings by Clara Schulmann, Barbara Sirieix, and Jennifer Teets, as well as a visual essay by Scott Rogers on the invitation of Richard Frater.

In 1977 Ingemo Engström and Gerhard Theuring embark on a journey through France. They trace the escape route of the German emigration in France 1940/41, documenting the places, talking to witnesses, relating the temporal layers. The film ESCAPE ROUTE TO MARSEILLES that was the result of this journey, carries the subtitle “Images from a working journal (1977) on the novel Transit (1941) by Anna Seghers”. Produced by the WDR, it premiered in Mannheim and had success at international festivals. Accompanying the film, Theuring and Engström conceived an issue of the journal Filmkritik that extends the movie, comments upon it, provides an insight into the research and production process. On the occasion of its theatrical release in Great Britain, Framework: The Journal of Cinema and Media published the comprehensive essay by Engström and Theuring in English translation. HaFI 009 republishes the essay from Filmkritik and its English translation in facsimile. In addition to the essay by Theuring / Engström, the booklet contains two texts by Paul Willemen and Steve Neale, who contextualized the film in the UK for Framework, as well as a commentary by the Harun Farocki

Square of Will in Square of Love gathers a selection of texts, notes and drawings by Alina Popa, edited by Florin Flueras. Most texts are more poetic and more personal than Alina’s previously published writing, “...a mixture of styles, subjects and mediums – theory, poetry, drawings, diary notes, it's unclassifiable, as she liked it.”
– Florin Flueras

The Disassembled Dictionary is a growing series of books that each, in various ways, discusses a particular word. “Portrait” consists of a glossary of synonyms and an essay by artist and poet Leif Holmstrand.

The Disassembled Dictionary is a growing series of books that each, in various ways, discusses a particular word. “Non-territorial” consists of texts by Yoko Andersson Yamano, Rachel Armstrong, Ylva Björnberg, Athena Farrokhzad, Jörg Heiser, Rolf Hughes, Ronald Jones, Lundahl & Seitl, Petra Malm, Aldy Milliken, David Neuman, Aleksander Perski, Tessa Praun, Theodor Ringborg, Robert Stasinski and Alessandra Di Pisa, and Liv Stoltz.

The Disassembled Dictionary is a growing series of books that each, in various ways, discusses a particular word. “Black” consists of the A–Z list and an adapted version of the essay by Oscar Guermouche from the book Noir – A Serendipitous Encyclopedia Inspired by 1001 Names for the Color Black by Sandra Praun, and a part of an interview with Pierre Soulages. Rotolito / Nava Press

Afterwords by Timothy Snyder & Yuval Noah Harari and Nan Goldin. In partnership with the Office of the President of Ukraine and the PinchukArtCentre.
Published on the occasion of the 2022 Venice Biennale exhibition This is Ukraine: Defending Freedom, issue seven is the culmination of Yevgenia's war diary, alongside monumental work by Kadan and Khomenko.

'The young artists in this book continue to live and work in wartime Ukraine. They confront the daily onslaught of death and its reckoning. But, in the face of war, they still preserve its unintelligibility. It is by such means that history might walk down another path than the one its perpetrators intend.'.

Modern Animal by Yevgenia Belorusets is a book published in 2021 by ISOLARII Belorusets connects a series of different characters and ideas, making use of a Soviet-style lecture form. While writing the novel, Belorusets interviewed people along the Donbas region, approaching the Russian-Ukrainian conflict through stories about animals. ISOLARII co-founder Sebastian Clark described the work “as a great refutation of autofiction.” The book was published with a foreword by filmmaker Peter Greenaway. Writing for magCulture, Danielle Mustarde notes how over the course of the novel the "once-structured Modern Animal evolves into a dream-like mix of interview, folklore and fiction." Forewords by Peter Greenaway and Nikita Kadan.

The humanism of the past five hundred years is dead. Believing man was exceptional, it opened the abyss of extinction. A new approach is needed to re-enchant the world and establish the commonality of all life on Earth. This is not just the task of politics and philosophy. It requires the effort of all those who tear down convention in order to preserve what is meaningful. That is, the preservation not just of environments, but myth, irrationality, autonomy, and joy—whether by direct or poetic means. New islands—of thought, literature, art—are already emerging. They are the necessary minimum for this re-beginning. We find these points of orientation, mapping a scattered community that spans continents and disciplines. To represent a world of many worlds, not a globe.

F LETTER assembles the feminist poets who have palpably changed the Russian language over the last decade.
Against the backdrop of state violence and oppression, this is electric dissent in pursuit of a democratic, egalitarian future. A lexicon for revolution worldwide. But this anthology's brilliance lies in its rhythm, energy, and depth of emotion - in its universal relevance rather than applied politics.
As Eileen Myles writes of its verse in a foreword to the work, "there are lines like a curse that yodel radiantly out of the toothy mouth of the curser...lines that are just so fucking metonymic in their grace...I've been invited to witness. To smell the crowd and be charged by history."

Antny Kreeg 47 and his lady-friend Contruh Guerre (pronounced “Country Girl”) had a rent-controlled apartment on the 112th floor (where the players dwell) of the Empire World Trade Twin Towers and they were never heard of again after 9/11. The ideas in this book were buried under

Während sie Damwild in einem Gebiet verfolgt, in dem früher Tagebau betrieben wurde, entdeckt Kat Dogtok ein Zickzack-Symbol, das mit einer schmalen Stiftspitze in einer dunklen Unterführung für Wildtiere geschrieben wurde. Die anschließenden unheimlichen Begegnungen und der zeitliche sowie räumliche Zauber, den dieses Zeichen ausstrahlt, sind so beeindruckend, dass Dogtok ihnen nicht mehr entkommen kann. Was oder wer steckt hinter den Zickzack-Markierungen?

Die Wiener Gruppe – Friedrich Achleitner, H. C. Artmann, Konrad Bayer, Gerhard Rühm, Oswald Wiener – entstand zwischen 1952 und 1955 aus einem Kreis avantgardistischer Künstler, die dem Wiener „Art-Club“ verbunden waren. Bei aller Verschiedenartigkeit

Pollution Diaries is a collectively written text, based on a small corpus of authentic recordings from the WhatsApp group of the same name, intended to share daily experiences of life in one of the most polluted cities in the world - Delhi.

Artists’ Letters is a collection of intriguing, entertaining, moving, significant, surprising, witty and insightful correspondence from great artists. Arranged thematically, it includes writings and musings on love, work, daily life, money, travel and the creative process.

The oceans are rising. On the rise are the metrics of accelerated human activities: sea level, water temperature, acidity, algal blooms, and the depletion of fish communities and marine life. The loss of abundance and diversity has devastating effects on the services the oceans render to the earth, exhausting their unrecognized labor of

A multimedia meditation on the many meanings of the ocean across history

"Type I enacts a hyperreality, in which the effects of climate change are damaging our world, and technological advances are held up as the key innovative tools for alleviating ecological collapse. Merging poetics, visuals, fiction and essaying to create a vivid, multi-layered novel, Max Parnell's debut offers up not only an

Anlässlich des 70. Geburttages von Günter Brus veranstaltete das BRUSEUM der Neuen Galerie Graz am Landesmuseum Joanneum 2008 "Ein Fest für Günter Brus", das aus einem Symposium mit internationalen Referenten und Referentinnen,

Herbert Fuchs macht aus seinen Künstlerfreunden Geiger, Zobernig und Kippenberger Kunstfiguren, die in seinen Textmontagen aus facts und fiction, aus Erinnerungen an gemeinsam verbrachte Tage und Nächte,

Forked Apologies gathers twenty-five texts by Michael Van den Abeele, all but two written on invitation by fellow artists and architects in the course of the last ten years. Drawings by Michael Van den Abeele of the concerned works and exhibitions accompany the texts. In fiction or description,

The apparent primary goal of Eric’s treatise is to define something called ‘the Real’, with the help of a patchwork of theoretical materials drawn from contemporary mathematics, mathematical physics, ‘neurophysics’ and continental theory. Other topics in the text,

"In a house you wanted to intrude, searching for a narrative you've detected between a character, images and photographs. I remember bumping against a floor lamp, causing its glow to waver briefly. Trying to ascertain the transmissions while already standing in front of objects that demand to be looked at."

"If it is somehow identifiable as part of a referential system, we immediately understand the meaning of a line on a piece of paper. A horizontal line will be easily read as a minus, an em dash or a way on a map, no matter how sloppily it is written or drawn."

Texts by Hans Haacke that range from straightforward descriptions of his artworks to wide-ranging reflections on the relationship between art and politics.

Excerpts from the potential spaces of interaction, word-image miniatures.

Wer cope im Internet nachschlägt, wird von einer Lawine sinnverwandter Formulierungsalternativen verschluckt. So ungefähr:

die publikation zeigt neue werkgruppen von g. b. in den love seats sitzen wir auf einem möbelobjekt & blicken aneinander vorbei. textilbilder & stickereien zeigen kisses in form von lippen ohne person.