chicago

Gregg Bordowitz delivering a talk on the opening night of his show “Talk Is the Object” at Iceberg Projects, Chicago, May 21, 2011.

Gregg Bordowitz

Iceberg Projects

Gregg Bordowitz delivering a talk on the opening night of his show “Talk Is the Object” at Iceberg Projects, Chicago, May 21, 2011.

When art and text conspire, compelling incursions into the politics of meaning may result. Take, for example, Joseph Kosuth’s contribution to Documenta 9 in 1992, for which he shrouded wall-mounted artworks with black cloth bearing screenprinted quotations by such thinkers such as Wittgenstein: “OBJECTS I CAN ONLY NAME. SIGNS REPRESENT THEM. I CAN ONLY SPEAK OF THEM.” The installation was titled Passagen-Werk (Documenta Flanerie), 1992, and delivered theoretical sound bites in place of identifiable objects as a means to frame art as a system of critical language signs. Gregg Bordowitz’s work also often involves language. However, it does so not to concretize his politics by staging text-based tautological constructions, but to unhinge meaning with speech and poetry.

At this Chicago off-space, Bordowitz opened his show, “Talk Is the Object,” with a performance—or, as it were,

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