|NIETZSCHE IN ITALIEN.
text - image - signature
Cross-over of art and philosophy in a series of 30 objects, aluminium-boxes (12x9x6") containing 3 plexi-plates carrying heat-transfers of text, image, signature
|# 22_Fröhliche Wissenschaft-Riviera-F.N.|
| The first plate gives to read a passage of
Nietzsche's work temporally assigned to visits of places in Italy the photograph on the
second plates is referring to; the signature-plate on third level comprises the variety
of Nietzsche's names as also the Italian place-names in his handwriting.
The mise en scene of the 3 inscriptions on the translucent plates puts their mediality into focus and subverts the purpose of meaning as the aim of reading.
|Depending on standpoint and focus of the recepient the infinite movement of the traces of text, image, signature - differentially referring to each other - is set in motion again and again, thus showing the constitutional conditions of meaning.|
|# 10_Fröhliche Wissenschaft-Genua-Prinz Friedrich|
|This deconstructive disposition does not aim at a meaning but follows the flow of writing in its shifting, delaying, supplementing play happening in the triple dispositif. Incessantly each sign refers to others, continually displacing its identy; in an endless process of delay the sign never arrives in a meaning.|
|The series of 30 objects is accompagnied by an artist book documenting the work to which Hugh J. Silverman referred in his text NIEZSCHE'S ITALICS: Chiasmatic Inscriptions - Between the Sheets, translated by the artist: NIETZSCHES CORS(IV)O: Chiasmatische Inschriften/Einschreibungen - Zwischen den Tafeln.|
|# 27_Der Antichrist-Turin-Antichrist|