Following his release from the Rodez asylum, Antonin Artaud decided he wanted his new work to connect with a vast public audience, and he chose to record radio broadcasts in order to carry through that aim. That determination led him to his most experimental and incendiary project, To Have Done with the Judgement of God, 1947-48, in which he attempted to create a new language of texts, screams, and cacophonies: a language designed to be heard by millions, aimed, as Artaud said, for “road-menders.” In the broadcast, he interrogated corporeality and introduced the idea of the “body without organs,” crucial to the later work of Deleuze and Guattari. The broadcast, commissioned by the French national radio station, was banned shortly before its planned transmission, much to Artaud’s fury. This volume collects all of the texts for To Have Done with the Judgement of God, together with several of the letters Artaud wrote to friends and enemies in the short period between his work’s censorship and his death. Also included is the text of an earlier broadcast from 1946, Madness and Black Magic, written as a manifesto prefiguring his subsequent broadcast. Clayton Eshleman’s extraordinary translations of the broadcasts activate these works in their extreme provocation.

In this book, Reiner Schürmann argues that what is most original about Marx is his philosophical axis. Extending his highly original engagement with the history of philosophy, Schürmann draws out this axis, which determines and localizes his theories of history, social relations, and economy. Whereas Marxist readings of Marx conceive history, classes, and social relations as primary realities, Schürmann brings out a radically immanent understanding of praxis that introduces multiplicity. This edition is complemented by a reprinting of Schürmann’s Anti-Humanism essay, in which he reads Marx alongside Nietzsche and Heidegger as spelling out the dissociation of being and action. Reading Marx showcases underappreciated facets of Schürmann’s work and offers an interpretation of Marx that resonates with the readings of Jacques Derrida, Michel Henry, Antonio Negri, and François Laruelle.

Staging an exhibition as choreography, as drama, as opera, as a place where reality, politics, aesthetics, art, film, and music can address the issues of our day through documentaries, dialogues, science, activism, and creativity: This is the dream, the idea, and the mission of the “refaire le monde” exhibition trilogy at Helmhaus Zürich.

The exhibition involves some eighty different authorial voices, bringing diverse attitudes and actions into the safe space of the museum. This book is both a documentation of these new values and new worlds and a guide to them. It is people-focused, positing the arts as the model for a new human reality. Refaire le monde features many artists, including: Ursula Biemann, Pascale Birchler, Corina Gamma, Vincent Glanzmann, Fabrice Gygi, A. C. Kupper, Asia Andrzejka Merlin, Gianni Motti, Tanja Roscic, Heidi Specogna, Bertold Stallmach, and many more, as well as all those who participated in various parallel events.

D’une rencontre est né un dialogue au sujet de la rencontre : un étonnement partagé de la possibilité qu’ait lieu l’incalculable, l’imprévisible et l’irréductible. Une curiosité pour la justesse de ce qui n’a été ni concerté ni décidé.

Hasard, providence, intrication quantique, rituel, animisme, étreinte ou porosité, pensée ou art sont autant de tentatives de tourner autour de ce qui nous échappe quand nous nous rencontrons. Et autant de façons de se rencontrer là où la philosophie reconnait que l’art lui échappe.