Meriç Algün Ringborg

DA: Why have you embraced the line in your work?

MAR: I find the line, by which I mean any line, quite enigmatic. It can be an image portraying something or representing information, whilst still being a line. The length of the line can be infinite, and it can almost be any width. The line also divides and separates—either horizontally or vertically—and, as each side of the line becomes contextualized, it takes on the role of a kind of void space. In the case of Line No.1 (Holy Bible), the line employs a particular aspect, which is due to its nature: it has the distinct psychological effect of coercing whomever is in the room to hold their body at its level, or below it. Wall-based borders such as these are frequently used in interrogation rooms and classrooms. To make people docile, an unassuming line is simply painted on a wall or manifested in another way. I wanted to couple the Bible, as an authoritative text, with such a gesture to explore what effects it might have along with the surrounding geographical territories of the islands Crusoe and Selkirk have lived on.

DA: Do you have any instructions for how the piece should be read?

MAR: Not really.

Back

LOCATION:
DATE:
TIME:
Hardbound book. Edition: 500. 72 pages

- -
daqui.
que comprei na Robinson Crusoe, um livro de exposição sobre o desaparecimento. o tempo, o espaço, a exposição e o apagamento. interessante no mesmo contexto de re-organização urbana como eliminação de minorias e de censura. todas as obras em Istanbul não são apenas o que são mas trazem sempre as camadas habituais em países sujeitos a censura e opressão. vale a pena seguir o trabalho de Meriç Algün Ringborg.

Location: Date: Time: um livro que eu não poderia comprar em Lisboa.

o que faz um ç de cedilha, a ler aqui.