i spoke with miloš trakilović about war, memory, and the limits of language in times of crisis. his latest work at kw, berlin, speculates on how popular music can anticipate catastrophes.

what’s fascinating about alice weidel’s schizo-fascism is how, despite her overt racism toward migrant workers—some undifferentiated non-white mass—she seamlessly shifts to politically correct, inclusive parlance (“some female it-specialist from india”) when discussing extractable cognitive labour.

from sleek self-drivers to junkyard scraps, recent artworks have troubled treating machines like people. check out my latest essay on mechanophilia in neo-feudalist times for "spike", featuring florentina holzinger, lawrence lek, agnieszka polska, göksu kunak, and selma selman. link in comments.

i’ve always suspected that the "western" bourgeoisie's patronising disdain for the semi-peripheral macho oligarchy is just a smokescreen for envy—for the latter can openly do and say what the former must handle in secret. but now, the broligarchs can freely cosplay the russian "wild ’90s"

kunstlicht’s new issue features my essay on the soviet novel the sun’s storehouse (1945), exploring human sexual attraction to swamps. beyond death drive (self-annihilation) and libidinal excess (extractivism), salvation lies in cross-species communication

🔗 tijdschriftkunstlicht.nl/vol-45-no-3-...

in a time when genocide is broadcasted 24/7 and censorship in germany intensifies, i often find myself questioning how to carry on with business as usual as an art writer. at the very least, i can amplify palestinian voices - as i tried to do in this review

www.berlinartlink.com/2024/12/13/g...