This issue explores practices of human and non-human substitution, plays with the myths and visions of motherhood and procreation, gathers artistic and theoretical positions on reproduction and communication, gender and genus, addressing and conception.
What claims the place of the nuclear family in the face of hybrid kinships and social freezing? What could new elective kinships be in times of chatbots and pseudonymisation? Is this the time for surrogate mother tongues and extra-human rhetorics of surrogation?
Sophie Lewis claims a gestational communism and hunts our grannies. Barbara Vinken reflects on spiritual motherhood, Luciana Parisi on human automata and gendered proxies. For Zuzana Cela, language is a foreign body that can be invaginated. Werner Hamacher strolls through mother museum, which is also a brothel. Arantzazu Saratxaga Arregi discovers the evolutionary disobedience of the girl and Thierry de Duve
a completely different pleasure with Joseph. Rudi Nuss tells of the new love for pregnant men, Allison Grimaldi Donahue of bad kinship in the house of language, Marlene Nourbese Philip of a foreign fear. Leda Bourgogne, Lucile Boiron, Lena Kunz and Emma Waltraud Howes occupy the place of these attributions with their images.
Conceived in the framework of the prestigious transversal and multidisciplinary editorial program of the eponymous publishing house
is a quarterly multi-language magazine with a focus on contemporary art, critical discourse, and multilingual fiction. Open for the plurality of all forms of imagination and knowledge, Diaphanes Magazine
connects an interest in current tendencies with deep-rooted research, the power of fiction with nuanced judgment, aesthetic excitability with essayistic sharpness, journalistic independence with a certain enjoyment of irritation and controversy. Equally committed to art and thought, critique and production, Diaphanes
wishes to correlate positions that seek new politics of text and image in the face of conformist regimes of meaning, and to contribute to a renewal of the means of critical apprehension and aesthetic sensibility given an increasingly opaque reality.