Also, access to Pfohl’s essay is essential to see the context of the sentences Wyn Evans extracts, essential to find the Latin title of Debord’s film, and essential to pick up Pfohl’s quip.ĭoes the burden of the elusive, multi-layered allusiveness and self-referencing placed on the reader/viewer diminish and interfere with the work or enhance and help it? Depends on the reader/viewer. For the reader/viewer ignorant of Debord’s last and autobiographical film, access to Pfohl’s essay is essential to connect that particular film with Küng’s reference. Attendance at the fireworks display - or finding the images in the deSingel archive - would seem necessary to make sense of Küng’s reference to the artist’s “fireworks texts”. Knowledge of - or the presence of - the 1914 edition of Un coup de Dés, Broodthaers’ 1969 version and Wyn Evans’ 2008 re-version seems essential. How does the reader/viewer of “…” know to make these connections, to fill in the omissions? Well, after the pause/delay of “ellipsis” come Küng’s essay and the colophon, which provide many but not all of the clues with which to make the connections. Still from fireworks display of In Girum Imus Nocte Et Consumimur Igni Is it alluding to the firework display that spelled out Debord’s 1978 film title, which translates “We go round and round at night and are consumed by fire”? As Pfohl explicates the filmscript and highlights Debord’s anti-consumerist, anti-capitalist and near-nihilist point of view informing it, he quips, “Look out for the flames”. The signature singeing from the laser comes with the choice. Wyn Evans could have chosen die cutting for the letters but chose (or at least approved) laser cutting instead. If another display in Wyn Evans’ 2009 deSingel exhibition is taken into account, and if Pfohl’s review is explored further, the laser cutting of the letters offers something else not immediately obvious to the eye. Is it a reference to George Perec’s novel La Disparution (1969), written entirely without the letter “e”? Is it an interruption to delay the reader in following an instruction not yet deciphered and read? There is something more going on here than meets the eye - which is, of course, what an omission or pause implies. Notice how this happens with “permit” and “yourself” above. Without knowing the text in question, deciphering the laser cut is a bit difficult, especially also until it becomes apparent that the letter “e” systematically falls below the line. Of course, the title page and subtitle in Wyn Evans’ 2008 version of Un Coup de Dés went along with the rest of his variation on Broodthaers’ 1969 work: the pages are framed and hung, allowing the pebbled wall behind the excisions to show through. The 2009 work’s subtitle - DELAY - is even positioned exactly where the subtitle is displayed in the three earlier works. The 2009’s laser cut text is positioned in a way to imply the placement of text in the 1914 work, the placement of black strips in the 1969 work and the positioning of excised blocks in the 2008 work. It uses the same trim size of the 1914, 19 works. The work “…” (2009) alludes to those other three works by form and materiality, not actual text. ![]() In his brief essay at the end of the book, Moritz Küng describes this work as a catalogue for Wyn Evans’ exhibition (15 October 2009 – 10 January 2010, deSingel, International arts campus, Antwerp) and characterizes it as “a reciprocate hypertext”, recalling the “trilogy of Un coup de dés by Mallarmé, Broodthaers and Wyn Evans ”. In this case: What has been omitted? What is coming after the pause or delay? H325 x W250 mm, 32 pages.Īcquired from Taschenbuch, 16 March 2020.Įllipsis: marks or a mark (such as … ) indicating an omission (as of words) or a pause Īs many bookworks do, Wyn Evans’ “…” offers a puzzle. Paper: Munken Lynx 80 (Küng essay and colophon), 170 gms (laser-cut pages), 300 gms (cover). Perfect bound, with laser-cut dust cover. ![]() Cerith Wyn Evans, Moritz Küng and Armand Mevis
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