A translation can reveal latent significance in the original text, as it is recontextualized for the specific cultural conditions of the secondary language; translation is a form of rewriting. The site-specific installation La rencontre . . . ! Venise—Florence . . . ! (The Encounter . . . ! Venice—Florence . . . !), 2007, which Georges Adéagbo created for the Fondazione Querini Stampalia in Venice, was developed as a rewriting of the historical objects preserved in this sixteenth-century house museum: a collection of furniture, furnishings, and musical instruments, predominantly from the eighteenth century, and paintings on canvas that date from the fourteenth century to the nineteenth. In keeping with his specific practice, based on the readymade and on assemblage, the Benin-based artist intervened in the museum’s rooms, altering the presentation of the collection by interleaving it with
Artforum print subscribers have full access to this article. If you are a subscriber, sign in below.
Not registered for artforum.com?
SUBSCRIBE NOW for only $50 a year—65% off the newsstand price—and get the print magazine plus full online access to this issue and our archive.*
* This rate applies to U.S. domestic subscriptions.