Life: Skin: Aerocene
In Sasha Engelmann, Karina Pragnell (eds), The Aerocene Reader – Exhibition Road, Studio Tomás Saraceno, Berlin: Studio Tomas Saraceno, 2017
through an exploration of Tomas Saraceno’s project of the Aerocene, I am attempting a definition of ‘life’ on the basis of simultaneous connectivity (to be a part of) and withdrawal (to stand apart) based on Deleuze’s concept of a life. The text is accompanied by a set of photographs by the author.
The Palimpsests of Andre Kunkel
Andre Kuenkel 2012-2019 works catalogue, Berlin, 2019
a text about Andre Kuenkel’s paintings and the role of time. Time here is an elastic band, circumventing the surface of the painting, framing the absolute now, linking it to other paintings (there is always another painting, be it in the diptych, in the triptych, in the series, in the collection).
LIGHTER THAN AIR: THE LAWSCAPE OF THE ANTHROPOCENE (link to:
part of Tomas Saraceno’s Monument to the Anthropocene, invited by Bruno Latour, Toulouse, October 2014
The Spectacle of the Cuming Collection
in Sophy Rickett and Judy Aitken (eds), Elephant Atlas: A publication on the exhibition Elephant Atlas, London: LCC, 2018
The archival spectacle unfolds only for the ones who have the time and dedication to look closely; but even then, it never unfolds fully. Every archive withdraws. In its core, there is an impenetrability that can never be pierced through. The Cuming Museum Collection, however, is a notch more impenetrable than usual.
The Law of Space: Delivery for Mr Assange
in Maite Borjabad López-Pastor (editor/curator), Escenografías de Poder: del estado de excepción a los espacios de excepción/ SCENOGRAPHIES OF POWER: FROM THE STATE OF EXCEPTION TO THE SPACES OF EXCEPTION: A Catalogue to the Exhibition, NYC 2017
a short piece, commissioned as a response to !Mediengruppe
Bitnik’s installation ‘Delivery for Mr. Assange A LIVE MAIL ART PIECE RRRRRRRRRRRRRRRRRRRRRRADICALREALTI ME’ Where is Assange? He is the vertigo of virtual freedom, the doyen of transversal movement, the freed-up diagonal that reigns over the virtual as a threat, comeuppance, justice, truth.
On the Line of the Horizon: Anxiety in de Chirico’s Metaphysical Spaces
in G. Ricci (ed.), Religion and Public Life Annual Series, Vol. 35, 2006
A study of Existential Anxiety through the visual semiotics of the paintings by Giorgio de Chirico and the texts of Soren Kierkegaard, Jacques Derrida and Niklas Luhmann.
Spatial justice in a world of violence
in C. Butler and E. Mussawir (eds), Spaces of Justice, London: Routledge, 2017, 2017
“Andreas Philippopoulos-Mihalopoulos opens the book with his latest contribution to his comprehensive project of re-theorising spatial justice with a piece titled ‘Spatial Justice in a World of Violence’. Through a close reading of the photographic series Fortunes of War, Life Day by artist Eric Lesdema, Philippopoulos-Mihalopoulos is interested in how these images reveal peripheral spaces at the edge of violence which impose an ethic of spatial responsibility on the viewer in the act of turning away and looking elsewhere.” Chris Butler and Edward Mussawir (eds)
Law and the aesthetic turn: Law is a stage: from aesthetics to affective aestheses
Research Handbook on Critical Legal Theory, Emilios Christodoulidis, Ruth Dukes and Marco Goldoni (eds), Cheltenham: Edward Elgar, 2019
Legal aesthetics is increasingly less about looking at law and aesthetics or art together, and rather about understanding the aesthetic practices the law employs in order to prove itself socially relevant. This is not an isolated legal phenomenon but largely a consequence of a shift in aesthetics as a whole, from the ontology of definition (beauty, art, sublime) to the new ontology of apparition (or staging). I engage with the shift from aesthetics of definition to aestheses of immersion, namely immersion into affects that involve sensorial and emotional responses.
The Atmosphere of Genocide
In Feldman, Maxwell, Plants, Sells. (eds.), No Feedback: Performance in Context, London: Form 1, 2016
A study of No Feedback immersive theatre production on genocide from an atmospheric, affective, non-subjective perspective.