SINCE THE EARLY '70S Roman Signer has been conducting and documenting self-described “sculptural events” in the Swiss countryside, employing a limited repertoire of objects (blue barrel, red balloon, Christmas tree, dynamite) to produce various physical phenomena. Effects range from the pink smoke of flares trailing Signer's skis as he crossed a pristine snowfield (Zakopane, l994) to the subtle roving of a camera's eye view from a tabletop raft as it floated past vivid riparian scenery (Table with Camera, 2001), to more dramatic outcomes, like the controlled explosion of Observation Box, 2000—a simple pine construction designed to give Signer front-row seating to a quick, smoky combustion. Two types of work resulted: the box, unchanged save for a delicate symmetrical pattern of gunpowder bums, exhibited with the artist's fireproof hood; and photographs of the explosive event. Considering

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