Umělec 1/2012 | Просмотр всех номеров | ||||
Author dreaming of a future without censorship we have never got rid of.
It seems, that people don‘t care while it grows stronger again.
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"In Cameroon, rumours abound of zombie-labourers toiling on invisible plantations in an obscure night-time economy."
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"In the best dictatorial tradition, Mugabe lives holed up in his luxurious urban palace in Harare. At night, the street leading past the giant property with the high wall and thick barbed wire is closed to traffic. During the day, people are allowed to drive down this important road and past the heavily guarded house. But woe to those who stop! Or take pictures! More than a few people have ended up dead as a result."
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Fritz Lang’s oceanic journey in the autumn of 1924 culminates in the same way as for many immigrants before him: with a view of the Statue of Liberty and the Manhattan skyline – in other words, the future. Starting from this point in space and time, Jan Wollner goes in search of the origins of the architectural aesthetics of Lang’s most famous film, Metropolis.
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Nick Land was a British philosopher but is no longer, though he is not dead. The almost neurotic fervor with which he scratched at the scars of reality has seduced more than a few promising academics onto the path of art that offends in its originality. The texts that he has left behind are reliably revolting and boring, and impel us to castrate their categorization as “mere” literature.
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