Bojan Šarčević, World Corner, 1999, bricks, plaster, wallpaper, wood. Installation view, Carlier/Gebauer, Berlin.

“TO WHAT EXTENT SHOULD AN ARTIST understand the implications of his or her findings?” This is the cryptic question that Bojan Šarčević posed to a panel of artists, critics, and curators he’d convened on the occasion of his 2006 two-venue exhibition in Ireland, at the Project Arts Centre, Dublin, and the Model Arts and Niland Gallery, Sligo. The show debuted a group of works—miniature geometries of brass threads dangling almost imperceptibly against an expanse of elegantly distressed wallpaper—that appeared far from the kind of research-based production his query would seem to address. Yet the seminar, held at the Dublin venue, was no mere discursive supplement. If Šarčević broached the broader topic of meaning in art—as was borne out by the ensuing expansive and open-ended discussion, which took the outcome out of the artist’s hands and offered no easily summarized

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