Contents - Various Artists

Anastasiia Spirenkova: Mute. Part III.

In the third and final part of her series of essays, Anastasiia Spirenkova examines how Russian writers and poets view silence as a powerful means of self-reflection and protest.

Senthuran Varatharajah & Ralph Tharayil: “Our language of love and our language of desire are cannibalistic languages”

Interview

Senthuran Varatharajah & Ralph Tharayil: “Our language of love and our language of desire are cannibalistic languages”

Senthuran Varatharajah in conversation with fellow author Ralph Tharayil about writing, music, as well as language and its limitations.

Anastasia Spirenkova: Mute – Part 2.

Essay

Anastasia Spirenkova: Mute – Part 2.

How can art succeed in initiating dialogue, exchange, and dissent in a public that has been as battered and restricted as Russia’s?

Anastasiia Spirenkova: Mute – Part 1.

Essay

Anastasiia Spirenkova: Mute – Part 1.

Researcher Anastasiia Spirenkova on the culture of silence in today’s Russia.

Commentary on Yevgeniy Fiks’ Soviet Union, July 1991

Essay

Commentary on Yevgeniy Fiks’ Soviet Union, July 1991

Kent State University Russian professor Brian James Baer comments on Yevgeniy Fiks’ work — and the events in Leningrad and Moscow in the summer of 1991.

Yevgeniy Fiks: Soviet Union, July 1991

Debate

Essay

Yevgeniy Fiks: Soviet Union, July 1991

Painter Yevgeniy Fiks reimagines the dreamy utopia of the July Revolution of 1991.

Iris Objekt

Essay

Iris Objekt

Musings on Michael Fassbender’s iris, eye payment systems, digitally rendered interiors, the meaning of refraction and how to make eyes more real in software.

Taiyo Onorato and Nico Krebs: Imagining and Imaging the Future

Interview

Taiyo Onorato and Nico Krebs: Imagining and Imaging the Future

Danaé Panchaud met Zurich-based duo Taiyo Onorato and Nico Krebs to discuss the unexpected visions of the future they create in their work.

Keith Fullerton Whitman: Acchiappafantasmi

Essay

Keith Fullerton Whitman: Acchiappafantasmi

What would you do when the technical gear you use takes on a life of its own? In this essay, Keith Fullerton Whitman describes how he found himself confronted with this question in a recent performance.