Fritz Lang Metropolis (film, 1927)
The Posthuman
by
Rosi Braidotti
***
Book Review
by Joseph Nechvatal
***

Installation view of Dieter Roth’s “Keller-Duo” (1980–1989) built with Bjoern Roth (© Dieter Roth Estate Courtesy Hauser & Wirth
Review of Dieter Roth and Music at the Hamburger Bahnhof Museum (Berlin)
at Hyperallergic
http://hyperallergic.com/224592/dieter-roths-chaotic-and-cacophonous-ges...

14pp., 15 x 30.5 cm., deckle-edged handmade paper wrappers, Pédale 133 letterpress-printed on handmade paper. Translated by Simon Watson Taylor. 177 numbered copies. 44 numbered copies, signed by the author, unavailable 111 copies, numbered 45 to 155, unavailable ISBN 1 900565 27 7
***
On
Jean Baudrillard

"The Left, with Marx its original prophet, has always warned
that, as a system, capitalism strives to turn us into automata and
our market society into a Matrix-like dystopia. But the closer it
comes to achieving its aim, the nearer it gets to its moment of
ruin, very much like the mythical Icarus."

Le Corbusier & Pierre Jeanneret, “Maison Planeix” (1928) Photo © FLC, ADAGP, Paris 2015 © ADAGP, Paris 2015 © G. Thiriet

Revisiting Le Corbusier as a Fascist

My review at Hyperallergic

http://hyperallergic.com/221158/revisiting-le-corbusier-as-a-fascist/

“Boots for the Aladdin Sane tour” (1973) Courtesy of The David Bowie Archive © Victoria and Albert Museum
Art review of David Bowie Is at Philharmonie de Paris
http://whitehotmagazine.com/articles/is-at-philharmonie-de-paris/3216

“Salle Blanche” (1975)

Art review of Marcel Broodthaers : Musée d’Art Moderne - Département des Aigles at Monnaie de Paris http://hyperallergic.com/215829/marcel-broodthaers-killed-art-with-curre...

Christof Kohlhöfer and Sigmar Polke,The Whole Body Feels Light and Wants to Fly… / Der ganze Körper fühlt sich leicht und möcht

Review of the Alibis: Sigmar Polke Retrospective at the Museum Ludwig (Koln)
http://hyperallergic.com/214765/sigmar-polkes-dreamy-trippy-art-went-dee...

I've been advised that Parreno's marquee pieces deserve further discussion. They are, certainly, the dominant visual element of the H{N)Y P N(Y}OSIS installation at the Park Avenue Armory, marking the outline of Danny the Street and providing much of the illumination in the Drill Hall. The films and musical interludes might alternate, turning on and off in random sequence, but the marquees abide like sentinels or referees, providing strict framing of the playing field, defining the rules of the game.

When the circus comes to town, we are accustomed to a certain hierarchy of presentation. First there is the sideshow, often an allee lined with various attractions that are transitory and ephemeral: small, spicy, tender morsels that serve to whet our appetite for the main course, where the real business of the circus -- marching elephants, dancing bears, lion tamers, jugglers, tightrope walkers, aerial acts, the flying trapeze and such -- gets done under the Big Top.