• Monotheismus
• Karl Marx
• Exil
• Film
• Kommunismus

I am not a very balanced person. I am fragile and sad – almost as described in Triste Tropiques by Claude Lévi-Strauss. I feel both those adjectives, I grew up with them. I was aware of my fragility even when I was very young – a baby, learning to walk, living somewhere in Africa and already feeling that the number of white persons was very small compared to the number of black persons and also noticing that most of the black persons that I met were gardeners or maids. I felt – I am sure I am not lying – even at that very young age, not a sense of injustice, but a sort of guilt.

Guilt for what? My parents were nice people, they treated everyone well. My father was avidly learning languages, he spoke many African languages and also Pidgin English very well and he used to speak it...

• Autorenfilm
• Subjektivität
• Identität
• Autofiktion

Ob Archimedes im 3. Jh. vor unserer Zeitrechnung die römische Flotte vor Syrakus tatsächlich mit Hilfe von Hohlspiegeln in Brand steckte, gilt unter Philologen, Experimental-Archäologen und anderen Experten für Archaisches und Arkanes als äußerst umstritten. Zu lange die Zeit, in der die Schiffe unbeweglich ein Ziel hätten abgeben müssen. Da aber eine der erste Beschreibungen der antiken Laser von Lukian von Samosata stammt, kommen auch andere Möglichkeiten, anstelle der normalerweise zur Schmälerung von Archmides’ Genie ins Feld geführten Übersetzungsfehler, für die Legendenbildung in Frage. Lukian war nicht nur ein ausgezeichneter Satyriker, er kann vielleicht auch als Erfinder der Science-Fiction gelten, so zumindest sehen ihn hunderte Jahre später Erasmus von Rotterdam und Thomas Morus, die gemeinsam einige seiner Schriften herausgeben (luciani opuscula, 1506).

Lukian von Samosata war ausgebildeter Künstler – so behaupten es seine wenigen Biografen – und sehr an ästhetischen Fragen interessiert. Ihm war also das gefährliche Potential einer konkaven Spiegelfläche...

• Optische Medien
• Gegenwartskunst
• Antike

• Cyborg
• Ergonomics

• USA
• New journalism
• New York
• Seefahrt
• Reportagen

Kerstin Stakemeier: I would love to start by taking up what Claire was saying about the figure of the intruder and about intrusion and asking how you, Okwui and Sarah would respond to that, how you would reflect it back on to both of your contributions.

Okwui Enwezor: I think the encapsulation of this discussion in terms of the relationship between the intruder and hospitality is so perfect and apt because it is only in that context that the question of an unsettling disturbance arises. I think that intrusion has a force to it – a force that also provokes recognition and I think it is in that space of recognition that the debates about fragility can really happen. And I am very grateful that you brought this up, Claire. Of course, in my text there is a longer passage about Derrida, about hospitality, which relates precisely to this. I want...

Fredric Jameson has diagnosed the contemporary situation as one of subjective perplexity and disorientation. After the failures of all the Marxist attempts to install a framework which could provide for a collective subjective orientation, and after the perpetual intensification of late capitalism’s dynamics, the contemporary epoch is marked by the feeling that “the truth of … experience no longer coincides with the place in which it takes place.” This is to say, that individuals become disoriented because they lack an effective cognitive map of the complete situation they are in. This lack of orientation originates in the absence of a standpoint that would provide not only an abstract, but also a concretizable, perspective on the totality of the situation in which an individual finds himself. Badiou has further complicated the problem of disorientation, by linking it to the modalities of subjectivization offered by contemporary societies. In his analysis he refers to...

• Gegenwartskunst
• Kunstkritik
• Dichtung
• Ästhetik
• Kunst

1. Art is not the sublime descent of the infinite into the finite abjection of the body and sexuality. On the contrary, it is the production of an infinite subjective series, through the finite means of a material subtraction.



2. Art cannot merely be the expression of a particularity (be it ethnic or personal). Art is the impersonal production of a truth that is addressed to everyone.



3. Art is the process of a truth, and this truth is always the truth of the sensible or sensual, the sensible qua sensible. This means: the transformation of the sensible into an happening of the Idea.



4. There is necessarily a plurality of arts, and however we may imagine the ways in which the arts might intersect there is no imaginable way of totalising this plurality.



5. Every art develops from an impure form, and the progressive purification of this impurity shapes the history both of...

• Kunst
• Kunstwerk
• Gegenwartskunst
• Alain Badiou
• Ästhetik

• Gemeinschaft
• Psychoanalyse
• Politische Theorie
• Oper
• Danièle Huillet
• Jean-Marie Straub
• Arnold Schönberg
• Migration
• Exil