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Kunst
Ornamentation is the body of our thought
Elena Vogman
Dynamography, or Andrei Bely’s Rhythmic Gesture
The experience of the Russian Revolution transformed both the perception and the epistemic notion of time. It challenged artistic and scientific modes of production with the invention of new models of temporality. Nonlinear, morphological, and materialist models of time seemed to correspond more precisely to the irruptive event of the revolution. These echoed more the new political constellation than a historicist or purely philosophical notion of a homogeneous time as a condition a priori to any experience. New theories in...
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Magazin Online
Sammelband
Zur Kritik der Wirksamkeit in den Künsten
Kathrin Busch (Hg.), Burkhard Meltzer (Hg.), Tido von Oppeln (Hg.)
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Zu einer Poetik des Seriellen
Elisabeth Bronfen (Hg.), Christiane Frey (Hg.), David Martyn (Hg.)
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»… Consistently Abused and Forced…«
Kati Kroß
Christoph Schlingensief's »Freakstars 3000«
When non-disabled artists such as Jérôme Bel or Christoph Schlingensief in their productions work with actors who, in hegemonic discourse, are referred to as disabled, they almost invariably face criticism over the exploitation and voyeuristic exhibition of these people. Bel’s Disabled Theater anticipated such reservations and took a good deal of wind out of its critics’ sails by having the performers themselves raise these issues on stage and report on their families’ reactions to the piece. Nevertheless, the question whether...
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