Timo Feldhaus

 Armen Avanessian Photo: Dirk Skiba

Armen Avanessian
Photo: Dirk Skiba

How can theory have an effect on the world? Armen Avanessian’s answer would be: only by making it go faster. With books and conferences on Accelerationism and Specu­lative Realism, as well as his participation in an art film earlier this year, he has attempted to free philosophical thought from the narrow bounds of the academy and bring the Left up to speed with financial capital­ism. Why does he find the art world so appealing?

Every Tuesday Timo Feldhaus writes about the most important thing in the world: other people.

Werner Herzog, Screenshots from Cave of Forgotton Dremas, 2010, 90 min.

In 2010, Werner Herzog was among the lucky few to be given permission to enter the recently rediscovered Chauvet Cave in the south of France. In just six days he made a stunning documentary film about its 32,000-year-old cave paintings. Timo Feldhaus looks back at the beginnings of art through a flat Retina Display and soon drifts back to the present – to the image archives of Corbis.

 Karl Owe Knausgaard

Portrait of Karl Owe Knausgaard by André Løyning

If we assume that we always get what we deserve, there's nothing for it but to read Karl Owe Knausgaard's novels. They are long and very boring and a perfect expression of our times. Timo Feldhaus read the new volume of "My Struggle".

 CARSTEN HÖLLER Detail aus / from Aufzugbett, 2010 Photo: Mary Scherpe © Carsten Höller / Bildrecht Wien 2014

CARSTEN HÖLLER
Detail aus / from Aufzugbett, 2010 Photo: Mary Scherpe
© Carsten Höller / Bildrecht Wien 2014

During the summer months Timo Feldhaus visited major art events in Cologne, Vienna and Basel, as well as Berghain in Berlin. Everywhere he found the same things: a need for immediate bodily experience and intensity; viewers looking to art for kicks; exhibitions that made no effort at subtlety but sought to hit everyone openly in the gut; and a refashioned performance art, adapted to suit our daily compulsion to perform.

Jordan Wolfson, (Female figure) 2014, 2014
Mixed media
Courtesy the artist and David Zwirner, New York/London
Photo: John Smith

For many visitors, Jordan Wolfson’s robot represents a first contact with the most technologically developed and also most disturbing robot they have ever seen. But can the gallery space do justice to the experience? After all, a robot is only as evil as the world into which it is placed.