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.
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.
The current crisis of democracy is the conjunction of a state of affairs that cannot and doesn’t want to change.
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?
Under post-Fordist conditions, the capitalisation of the immaterial work has managed to be integrated into artistic labour.
No more pages to load