Sign-languaging: “Everyone does it…”, even (gulp) artfolks

What “happens: when the traveller draws near? First there is a kind of poster that names the event, the destination.

The night-show – where it all started (Nov. 2003) is a MUST

But what does it “say”? The gazer’s attention is engaged by two
offsetting references to orthography. The upper one conveys the movement of the calligraphic brush over ricepaper: in the Zen formula, its meaning lodges in movement, flourish, impulse as coveyed by the way that turns and ends are developed. Thouigh of course there was never any such thing as azure ink in the Chinese studio.

The other, lower left, literally “scribes” or scratches units of meaning with a scalpel. The two glyphs use a very ancient style dating from an age when there were neither ink nor brush. The forms originated as literal images, though by now they aren’t easily identifiable as such. But they approach absolute representation, are uncomfortable with the feeling of movement.

They “mean” impression (印象 em>yinxiangsketch, even intuition – the qualifier for the name of the legend-heroine Liu Sanjie. So is she dream (brush-stroke) or an actual historical personage (“seal” character, the language of the archive)?

and the azure is the Li river

Destination as signal

The counter-point is fractile: it plays out again when the represented reality is discovered: a traveller’s guide to the exurbs of Guilin where the show is staged. The “fact” that grounds the fantasy.

So, even before the event, the mystery of the procedure of (reduction to) IMPRESSION has been demonstrated. Unknowingly, our pilgrim will now be tempted to see everything as sensual abbreviation, performance of the imagined. The show will be watched in a state of hypnosis.

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