Geneva

Chiara Fumai, I Say I, 2013, collage and ink on paper, six sheets, each 11 3⁄4 × 8 1⁄4". From “Scrivere disegnando: When Language Seeks Its Other” (Writing by Drawing: When Language Seeks Its Other).

Chiara Fumai, I Say I, 2013, collage and ink on paper, six sheets, each 11 3⁄4 × 8 1⁄4". From “Scrivere disegnando: When Language Seeks Its Other” (Writing by Drawing: When Language Seeks Its Other).

“Writing by Drawing”

Centre d'Art Contemporain Genève

What do you get when you gather the individual artifacts of those who have been welcomed by the institution alongside those who were once committed to one? In the case of “Scrivere disegnando: When Language Seeks Its Other” (Writing by Drawing: When Language Seeks Its Other)—with dozens of works on view sharing mostly cursive, manual processes—the answer is a panoply of voices, both inner and alien, rendered visible. Some of them are critically acclaimed and infectious, while many others are as yet unheard and unsung, perhaps even unknowable. The unprecedented gambit of the show’s curators, Andrea Bellini and Sarah Lombardi, was to unite pieces from the Lausanne, Switzerland–based Collection de l’Art Brut—a renowned institution devoted to objects made by the psychiatrically afflicted as well as by “outsider” creatives neither subject nor privy to markets or discourse—with postwar and

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