বুধবার, ১৪ মার্চ, ২০১৮

An AFTERWORD by Bruno Neiva







A Berlin Wall, photo Philip Davenport. Berlin, 2018





Whilst paying its due respect to the countless leanings and practices that run across the history of text-based art, the late production covered on this blog-anthology edited by Philip Davenport bears witness to an unfolding of processes that stress rhizomatic qualities and strategies: sought, found and dismantled text, illegible, programmed, combinatorial and performed text, text embedded within objects, subjected to erasure and Oulipian contraintes, etc., reconciling the writer/artist with the frame of the page and the walls of the gallery white cube, or breaching its confines, descending upon the city, carving into nature. A curatorial landscape of text, image and objects prompted by the dynamics of appropriation, through reframing strategies of defamiliarization of language, and its conversion or translation into further media and formats. Furthermore, this gathering by Davenport also uses those strategies to question the nature of political and personal boundaries.






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