Paris

Nancy Dwyer

Galerie Renos Xippas

Is it more apparent from Paris that Nancy Dwyer’s sculpture is as much a product of rap culture as it is an extension of recent media art? She owes more to Public Enemy’s lyrics than to Ed Ruscha’s deployment of found language. It is particularly evident from this exhibition that Dwyer’s visual vocabulary does not constitute a simulation or a critical appropriation—that it is in no way a deconstruction of the language of the mass media. Her speech comes directly out of the hard-core culture of conflict that gives the words a new power.

This is a culture that does not make the word into a medium of discourse. The word functions instead as a shock; it is a register of pure emotion, an act of violence that is as physical as it is visual, an aggression that is auditory and mental. The same goes for Dwyer’s sculpture, in which the word becomes autonomous for lack of a capacity truly to

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