Nora N. Khan

  • Cezary Poniatowski, Compost II, 2021, resin, Styrofoam, soil, towel, compost bins, lightbulbs, smoke, projection. Installation view, Kraftwerk, Berlin. Photo: Helge Mundt.

    A DANCE PARTY HAPPENING ELSEWHERE

    I ENTERED “METABOLIC RIFT,” an “(un)guided exhibition-tour” featuring twenty-plus site-specific installations, with ambivalence and curiosity. Presented in a former power plant known as the Kraftwerk, the show constituted the 2021 edition of the renowned music festival Berlin Atonal. Gathering—good old-fashioned physical proximity—is the heart of an event like Atonal. I was flooded with memories of past festivals, pre-pandemic: hours bleeding into days of demanding, heady experimental sound. I remember the heat of certain rooms in the basement and a metal cage around DJs thrashing to their

  • Page from Anne de Vries’s Deep Scroll (Onomatopee, 2020).

    Automatic Writing

    Deep Scroll, edited by Anne de Vries. Eindhoven, the Netherlands: Onomatopee, 2020. 380 pages.

    DEEP SCROLL is a book for this precise mediated moment. It’s a chaotic journey in which the reader walks a tightrope between the real and the simulated, in which the old is repackaged as the new and we are driven to furious speculation over a multitude of speakers’ intents and ideologies. Artist Anne de Vries offers a mad pastiche of dense theory layered atop digital collages of his installation work from the past two decades. He sourced classic writings by Hannah Arendt, Alain Badiou, Manuel DeLanda,