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View of “Josef Strau,” 2014.

Josef Strau

Vilma Gold

View of “Josef Strau,” 2014.

For his exhibition “My Divid’ed House,” Berlin- and New York–based artist and writer Josef Strau had promised to present a nearly complete archive of his type-printed poster-pamphlets from the past decade. This was a daunting prospect, given that in previous, less comprehensive exhibition projects, the prolific output of his automatic-writing technique, sometimes attached to cheap lampshades or cardboard partitions, and occasionally even tucked away in letter-shaped tunnels, could often exceed the reader-spectator’s time and energy resources. At Vilma Gold, reprints and high-resolution digital photographs of the poster-pamphlets, starting with White Nights, 2003, were affixed to the gallery walls in a seemingly manageable row around the room, with the exception of one corner in which five adjacent black garden fences with colored picket tops, dangling images, and decorative lights

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