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Lissabon, 2024

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Lissabon, 2024

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Elfriede Lohse-Wächtler Selbstbildnis mit Zigarette, 1931

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From Memory by Bernadette Mayer, Siglio, 2020. Courtesy Bernadette Mayer Papers, Special Collections & Archives, University of California, San Diego.

Chantal Akerman: News from home, 1977 (Kamera: Babette Mangolte)

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Die Autorin ist 17 Jahre alt, als sie zum ersten Mal diese Stimme hört – da ist es um sie geschehen. Jahrzehnte nach der berauschenden Frühi

Ein Feature-Klassiker, der das Sprechen über Musik zum Thema macht. Im zweiten Teil geht es um das schwierige Verhältnis der Primadonna zu i

Rose Wylie: Singing in the Rain, 2019

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Durga Chew-Bose: You know when you go to a museum with a friend and it’s understood that you don’t have to stand side by side in front of every canvas? You can move at different speeds, occupy different corners, get separated, and it’s fine and relaxing because somehow when it’s time to leave, you’ll find each other. My favorite type of writing is like that, where it drifts in and out of different rooms, and sometimes ideas get lost or sentences sort of wander or drop off and the meanings and senses of things get separated, but it doesn’t matter. Like how after the museum, you can walk for a few blocks with your friend in silence, not pressed to speak.

– in conversation with Sarah Nicole Prickett

“I feel like I’ve gone through my life on my eyeballs. I just keep rolling along on my eyeballs. And I don’t know how else to do it.” – Barbara Rossi, Künstlerin

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Kathrin Heinrich über: Isabel Mehl: Im Zeichen des Zweifel(n)s. Madame Realism oder: Die Funktion der Fiktion in der Kunstkritik; in: Springerin 02/2023

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Ein Schreibworkshop von From Where I Stand (Oona Lochner und mir) in Bochum am Graduiertenkolleg "Das Dokumentarische" auf Einladung von Rose Beermann.

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