Sokol Beqiri: As visual reminiscences and artistic responses to the bestialities of war, the works of Sokol Beqiri from the early 2000s also speak to the omnipresence of crime in the city where he was born in 1964, Peja, Kosovo. Inspired by Theodor W. Adorno’s famous question about the (im)possibility of writing poetry after Auschwitz, Beqiri walks into a dark zone of ideas and images which a Platonist might call the mimesis of evil. Consider, for example, the performance carried out in the ruins of Peja’s Grand Bazaar (1999), his installation Kur engjëjt vonohen (When Angels Are Late, 2001), and, especially, the video Milka (2000), with its subject of the abattoir. A brutal parable recalling the massacre of civilians during the war in Kosovo, and earlier, during conflicts in former Yugoslavia, this time-based work has a deeper intention of confronting the perpetuation of evil. The most radical in this cycle of works, Fundi i ekspresionizmit: pikturuar nga një i çmendur (The End of Expressionism: Painted by a Madman, 2001), takes up the genre of war documentary and treats it like a readymade. For this work, Beqiri lightly enhances three photographs of war victims from Peja: a stabbed boy, whose body was found in the troubled waters of the River Bistrica (now called Lumbardh), and of two other victims who were killed, doused in petrol and then set on fire. There is an extreme horror to these images, as Beqiri recognizes, and by accentuating them he draws attention to the “artistic” effect of documentary photographs, particularly when observed out of context. In this case, the expression on the boy’s face, floating in the clear waters of Peja’s river, radiates with the beauty of a sleeping angel; the two photographs of the burned bodies wrapped in blankets, also burned, become abstract “artistic compositions.” Is Beqiri suggesting, then, that there is an art of crime? Is such an idea even bearable? And how to think that, indeed, there is such a thing as a “signature” or “creation” in the extreme and macabre savagery performed by a criminal human being? Does this work denounce the crime itself, or rather, the ontological diabolism of art itself, becoming in this case a perfect crime of mimicry and deceit? Shkëlzen Maliqi Rainer Oldendorf: Like a writer who places epigraphs at the beginning of his text—other voices—to give rise to an idea of the work as a whole, please find enclosed some elements and conditions for the work in production marco14 and CIAM4 /Shipwreck with Spectator: In every culture, what escapes the exertion of the concept—the perspective on the whole of reality, the world, life, and history—is handed over to long-term work on images. The imaginative orientation achieved is condensed, transformed, and elaborated in great metaphors and comparisons. One of the ever-present models is that of life as a sea voyage. It encompasses the voyage out and the voyage home, the harbor and the foreign shore, anchorage and sailing the seas, storm and calm, distress at sea and shipwreck, barely surviving and merely looking on. This metaphor provides the outline of a whole composed of many conditions and possibilities; it also sets the limit of what is nearly impossible, which will, in the best of cases, be recounted as a sailor’s yarn.1 The Film Society presents / DIARY L.MOHOLY-NAGY presents his FILM /TAGEBUCH. DIARY. JOURNAL L.MOHOLY-NAGY zeigt sein presents his présente son FILM / ARCHITECTS’ CONGRESS / Marseille. / President van Eesteren [Amsterdam] / Le Corbusier [Paris] / Sert [Barcelona] / Moser [Zürich] / Secretary-general Dr. Giedion [Zürich] / Bodoni [Milan] / Caricature portrait composed of bedroom furniture. / Isthmus of Corinth. / Arrival of the Greek delegates. / Piraeus. / Athens. / The Acropolis. / The Temple of Zeus. / New reservoir at Marathon which supplies water to Athens. / Official opening of the Congress. / The Acropolis floodlit in honour of the Congress. / Cruise to the Greek Islands. / Aegina. / Seriphos. / Santorin. / Ios. / The return voyage. / The weather is hot enough for many to spend the night on deck. / Marseille again. / THE END 2 When it comes down to it, you  are all alone, and yet you are  like a conspiracy of criminals. You are no longer an author, you are a production studio, you have never been more populated.3 marco is a picaresque film, a fictional portrait developed in parts since 1995, relating different sculptural forms, the last of which was marco 13, realized as part of the Soleil politique exhibition in Bolzano, Italy. The film tells the story of Paul since his engagement in left-wing politics during the 1970s—incorporating the site and circumstances of the film’s production. Paul is played by Marco Gallo, the friend of Rainer Oldendorf (born in 1961) since his teenage years spent in Lörrach, southwest Germany, and whose first name gave the film its title. He is a polyglot and a catalyst bringing together people of different origins. marco 14 takes place during a seminar connecting Athens and Kassel in 2017. Pierre Bal-Blanc Pope L.: 2016 was a year of wild speculations, burning insults, half-lies, and post-truth (Oxford Dictionaries’ Word of the Year). But even before the UK referendum, with its demonized immigrant laborers, or the U.S. election, followed by bipartisan accusations of Russian interference, Pope.L thought to make a whispering campaign. Quiet as it’s kept, he is after a tone. His campaign is an abstraction or an atmosphere. It will seep in and permeate the real space and city infrastructures of Athens and Kassel in 2017. There are characters in both cities that are worth writing about, and Pope.L, who was born in New Jersey in 1955, has learned about them with the help of locals and native speakers, and encoded them into information to be whispered. The totality could be understood as a minor history of the two documenta 14 cities. Another way to attend to the campaign is to listen for patterns—music to the spy’s ear. Here, Pope.L’s way with words becomes purely audible. Else-where, in his longest-lasting project to date (longer even than the Whispering Campaign for documenta 14, repeated in two cities, two time zones, for 163 days in total and twenty-four hours per day), there is a narration spelled out in felt markers or ballpoint pens, mostly on letter-size pages. We make out: blue people are the future; green people are hope without reason; red people are the tip for which the iceberg has been waiting; purple people are the end of orange people; black people are the window and the breaking of the window; gold people shit in their valet; red people are from mars, green people are from new jersey; brown people are the green ray; yellow people are runny; blue people are (if god created them and god created everything even non-everything so) blue people are the tears of god when it is sleeping; brown people are illegal immigrants; white people are a desalination plant in puerto rico; purple people are the pile of bodies on the television; xxixx xxxxxx xxx xxxx xrxxn xxxxxxx: 1, 7, 186, 4, 101. He calls them “Skin Set Drawings.” The world calls for sets and systems. Monika Szewczyk Share