Lost in Translation - Apanhados na Curva

Na Galeria Cristina Guerra em Outubro de 2010 encontrei um texto de sala onde se lia a propósito do trabalho anterior em inglês:



Perhaps it all depends on where you stand, as in another work in the exhibition Sistine Chapel (B.C.) 2009. For this literal and disfigured slice of time, the artist has created a table top out of black glass – which, for him, represents a piece of time–broken off the end, and placed it at folded, vault-like angle on top of the table (broken and scrambled time). A reproduction of a B.C. comic strip, which has been placed upside down in the interior of the vault, can be read in the reflection of the table only from a single angle.

Not as simple as it may initially seem, the comic strip features two supine cavemen marveling at the shapes they see in the clouds, such as, apparently, The Sistine Chapel. This observation, however, is immediately followed by the revelation of its anachronistic impossibility (represented by a shared stoner-like "Whoa!"), given that the Sistine Chapel hasn't even been built yet. The flawed logic upon which such a revelation is predicated is hard to hold in the mind, as the only thing more farfetched than these two cavestoners seeing a renaissance masterpiece from an as of yet un-conceived Western canon in a cloud is their realization of such an impossibility, of catching themselves in flagrant délit of an anachronism. Inverting the image and investing it with an anamorphic resolution, Andersson literally reflects the ideal viewing position presupposed by such wistful thinking, while again complicating its assimilation to the point of aporia.

e em português:


Invertendo a imagem e dotando-a de uma resolução anamórfica...


Só é pena que na versão em Português estivesse escrito anamórfico em vez de anamorfótico que era a palavra que fazia sentido neste texto. Quando se usam palavras de significado difuso convém verificar porque é importante notar que se trata de um texto de sala de uma galeria importante.