| | | | Charles Avery: OnomatopoeiaThe PortText by René Zechlin.
For over ten years, the visionary Scottish artist Charles Avery has been using drawings and sculptures to create and populate a philosophical allegory called The Islanders. In 2008, Avery published an introduction to this project, and part two is this new artist's book, which reproduces as its centerpiece Avery's huge drawing "View of the Port at Onomatopoeia."
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| | | FROM THE ARTBOOK BLOG THOMAS EVANS | DATE 5/3/2011 Of the many inspired curatorial concepts that Harald Szeemann devised in the course of his career, one of the most suggestive was “individual mythologies.” Szeemann debuted the term as the guiding thesis of the legendary Documenta 5, 1972; he later explicated it (in an interview with Hans Ulrich Obrist collected in the latter’s A Brief History of Curating) as “intense intentions that can take diverse shapes: people create their own sign systems, which take time to be deciphered.” Nebulously broad as this may sound, what Szeemann intended by “individual mythologies” was an art in which a unified system, or world view or cosmology manifests itself across a range of media—via a repertoire of signs and symbols, as in Marcel Broodthaers’ eagles, pipes and bricks, or Matt Mullican’s generic Isotype symbols; or through allegory, as in the cosmologies of William Blake, or Paul Thek, whom Szeemann included in the 1972 Individual Mythologies show. Such cosmologies would operate independently of existing religious, scientific and philosophical systems (though inevitably borrowing from them).
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