To remedy this, each entry in the list now includes a thumbnail image; otherwise, the layout remains unchanged. Left-clicking on an entry displays the corresponding work at full screen size in a separate tab.

The same list is used in both language versions, so the menu item on the left is now labeled “Works/Werke Index.”

Things and perspectives, my sense of time and of the world, will appear in a different light — and will find an echo in my work.

How far the therapy — or therapies — will shape the substance and the timeline of the artdig worX project, there’s no way to foresee. Nor will it be something I can hold off.

The artdig worX project lives on!

These PDF documents, typically two to three pages in length, replace the previous web pages and simultaneously serve as the content for the new menu item “Catalog of works.” This index presents a listing of work titles covering the now 140 exhibited pieces, arranged in chronological order by date of creation.

This renders the collected volume of art critiques announced on January 30 obsolete, and the first volume — containing 50 critiques and already published on the main English-language website — has been removed from the site.

The documents section has been cleaned up and redesigned. It is now organized into three areas — Art Books, Art Magazines, and Artdig Matters — each accessible via dedicated buttons.

Reviews and Publications — This section has been updated to reflect the current body of work and the state of the website’s content.

These projects are scheduled to be completed by March 1 at the latest.

Technical Updates

The automated German translation feature, which was only set up in mid-October, has been discontinued to maintain independence from third-party services. Translation management has returned to Arslohgo’s direct control. German-speaking readers can now access the German version of the website directly at https://artdig-de.lohgo.net.

Content Updates

Revisions: The two previously published art books, which were temporarily removed from the documents section for revision, are now back online.

Artdigazine Issue 1: The Artdig Magazine announced for November 15th has been released and is available in the documents section under its designated category.

Reviews: The AI-generated reviews section has expanded beyond individual artwork reviews to now include reviews of art books, magazine(s), other documents, and the website itself, all accessible in the documents section.

Portfolio: The portfolio has been expanded with new works as well as older pieces not previously included. Since portfolio content is sorted in reverse chronological order—with newest works appearing first and oldest at the end—recently added older works can be found in the middle of the list.

Viewing Note for Magazine and Art Books: The magazine and art books are formatted as double-page print layouts (Artdigazine in A3 format, art books in A4 format). For larger screens, we recommend setting your PDF viewer to two-page display with a separate cover page to see facing pages as intended, since some artwork presentations span across spreads.

The critiques can be accessed via a link on the page with the work’s brief description and will open in a separate browser tab.

Since art criticism employs highly specialized language, there’s an additional menu item in the left sidebar where you can look up art criticism terminology. In order to open this glossary in a separate browser tab right-click the menu item and select “open in new tab” from the context menu.

The magazine deals with various works that are significant to me for different reasons, and the overarching thematic focus of this issue is on the art of reuse. Under the heading “the illusion of ground zero,” the Western cultural fiction of the unique creation of the unprecedented, of true originality from nothing —derived from “Creatio Ex Nihilo,” traditionally reserved for divine action, which we have secularized and applied to human creativity—I talk about the reuse and modification of motifs in art. This can be understood as a counter-concept to the essentially self-deconstructing fiction or fantasy that ultimately only serves economic success in the art market.

Note on the translation function

Automatic translations already work very well for the most part. Nevertheless, translation inconsistencies do occur, especially with certain types of text. I endeavor to correct such inconsistencies as quickly as possible, but delays cannot always be ruled out.

Note on the filter function

The filter can be used to limit the number of works displayed in the portfolio. This is a “temporary” filter—if an image is called up from the filtered display, the filter is no longer available afterwards.

If you want to keep the filtered display because you want to call up several works from it, it is advisable to open the desired works in a separate tab. You can do this by right-clicking on the image and then selecting “Open link in new tab” from the context menu.

The November update affects the document area. All documents are currently being revised and are therefore temporarily unavailable. They are scheduled to be available again in their new form from November 15.

“weglot” is a software component that automatically translates the website’s texts into German. This makes it easier for German-speaking visitors who are not very familiar with English to understand the descriptions, journal texts, and documents.

Two language selection options have been added to the menu items in the sidebar on the left, allowing users to switch between the lingua franca and the German translation.

Weglot uses machine translation and combines various translation APIs such as Google Translate, DeepL, etc. The translation results are quite close to the original content, but nevertheless, some reworking is inevitable.