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.
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 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.
