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拍品专文
The juggler is an embodiment of the notion of territory. He is someone who administers three objects within a territory made for only two. To do so requires the introduction of the concept of time. The juggler is in fact the person who finds a location within time.
The most attractive word I know is lejos- 'far off'- because it presupposes its own existence both here and there, simultaneously. Lá- 'over there' - is a confirmation of existence.
The problem for me as far as so-called conceptual art is concerned is its aspiration to achieve sensory absence. For me such extreme and painful asepsis results in permanent blindness. It is like a sandwich with a filling of sand or cotton, imbued with great desolation. Conceptual art raised the question of time in a place where time should not exist. Unlike cinema or music or literature, the physical art object allows the possibility of immediate attraction or repulsion. Consequently I believe that it is important not to abandon that historically characteristic property of the art object, its instantaneousness.
(Cildo Meireles quoted in Cildo Meireles, Geografia do Brasil exh. cat., Rio de Janeiro, 2001, p. 86).
The most attractive word I know is lejos- 'far off'- because it presupposes its own existence both here and there, simultaneously. Lá- 'over there' - is a confirmation of existence.
The problem for me as far as so-called conceptual art is concerned is its aspiration to achieve sensory absence. For me such extreme and painful asepsis results in permanent blindness. It is like a sandwich with a filling of sand or cotton, imbued with great desolation. Conceptual art raised the question of time in a place where time should not exist. Unlike cinema or music or literature, the physical art object allows the possibility of immediate attraction or repulsion. Consequently I believe that it is important not to abandon that historically characteristic property of the art object, its instantaneousness.
(Cildo Meireles quoted in Cildo Meireles, Geografia do Brasil exh. cat., Rio de Janeiro, 2001, p. 86).