Every original form is negated, or rather, abolished. Navigating through a network made up of photocopies, prints, screens or photographic reproductions, forms surface as just so many transitory incarnations.

a. Permanent Transcoding: Formal Nomadism

In the works of Kelley Walker, Wade Guyton and Seth Price, forms are displayed in the shape of copies, forever in a transitory state; the images are instable, waiting between two translations, perpetually transcoded. The practice of these three artists dissuades us from giving their works a precise place in the production and processing chain of the image, because the same patterns are repeated with greater or lesser variants in distinct works.

Kelley Walker operates by linking visual objects: he depicts an uprooted reality in works that are only ‘freeze frames’ of an enunciation in a continuous state of development, constantly incorporating earlier stages of his work. As for Wade Guyton, he leaves it to mechanical reproduction techniques to generate form variables that he introduces in his work.

Taken from magazines, television or Google search, they seem ready to return there, instable, spectral. Every original form is negated, or rather, abolished. Navigating through a network made up of photocopies, prints, screens or photographic reproductions, forms surface as just so many transitory incarnations. The visible appears here as a nomad by definition, a collection of iconographic ghosts; the work of art presents itself in the form of a USB-stick that can be plugged into every support.

from Nicolas Bourriaud’s Precarious Constructions
Answer to Jacques Rancière on Art and Politics
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