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On Missing Links and Object

Yane Calovski in
conversation with
Basak Senova

Basak Senova You follow different paths and readings in order to render them in your works. How do you perceive documentary narratives?

Yane Calovski Conceptually yes. I am drawn to the potential of revisiting “insecure” historical episodes that seem to open a possibility of re-examination and rewrite based on newly found information.

Sebastian Cichocki

The
Museum of
Peripheries
and Other
Lost
Documents

(A set of possible
scenarios for Y.)

 

Scene I

Where we meet Robert the architect, and his assistant, Teresa. The scene takes place in a small architect’s studio –TAMS, on the 11th floor of a Central Business Complex in town P.

Astrid Wege

Obsession,
Things, and
Narratives

“It is always changing. It has order. It doesn’t have a specific
place. Its boundaries are not fixed. It affects other things. It
may be accessible, but go unnoticed. Part of it may also be
part of something else. Some of it is familiar. Some of it is
strange. Knowing of it changes it.”


In 1970, when Robert Barry wrote this short conceptual text entitled Art Work, it was, as we know, not the first, but definitely a strong statement for a notion of art that not only defied the still widespread idea of the selfcontained, autonomous art work created by a single, original author, but, also directed the focus on its relationality.

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