Hans Ulrich Obrist & Cerith Wyn Evans: The Conversation Series
Volume 24
Edited by Hans Ulrich Obrist.
Cerith Wyn Evans’ gloriously uncategorizable oeuvre has spanned installation works, sculptures, photography, film, text and a recent collaboration with industrial-music pioneers Throbbing Gristle. Preoccupations with language and perception generally lead the works, from an exhibition at Tate Britain in which a computer randomly selected lines from William Blake’s poetry to be reflected off a disco ball in Morse code format to “Inverse, Perverse, Reverse,” a large circular mirror that showed viewers’ reflections upside down, referencing Lacan’s mirror-stage theory of identity while throwing a wrench into the expected experience of representation. Evans has said he wants his work to function as a “catalyst or reservoir of possible meanings that, for the viewer, could unravel many discursive journeys.” In this series of conversations, Hans Ulrich Obrist draws Evans on these and other themes.
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FORMAT: Pbk, 5.5 x 8.25 in. / 196 pgs / 25 b&w. LIST PRICE: U.S. $35.00 LIST PRICE: CANADA $47.5 ISBN: 9783865606334 PUBLISHER: Walther König, Köln AVAILABLE: 3/31/2011 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Out of stock indefinitely AVAILABILITY: Not available TERRITORY: NA LA ASIA AU/NZ AFR
Hans Ulrich Obrist & Cerith Wyn Evans: The Conversation Series Volume 24
Published by Walther König, Köln. Edited by Hans Ulrich Obrist.
Cerith Wyn Evans’ gloriously uncategorizable oeuvre has spanned installation works, sculptures, photography, film, text and a recent collaboration with industrial-music pioneers Throbbing Gristle. Preoccupations with language and perception generally lead the works, from an exhibition at Tate Britain in which a computer randomly selected lines from William Blake’s poetry to be reflected off a disco ball in Morse code format to “Inverse, Perverse, Reverse,” a large circular mirror that showed viewers’ reflections upside down, referencing Lacan’s mirror-stage theory of identity while throwing a wrench into the expected experience of representation. Evans has said he wants his work to function as a “catalyst or reservoir of possible meanings that, for the viewer, could unravel many discursive journeys.” In this series of conversations, Hans Ulrich Obrist draws Evans on these and other themes.
