Overview

Cerith Wyn Evans' gloriously uncategorizable oeuvre has spanned installation works, sculptures, photography, film, text and a recent collaboration with industrial-music pioneers Throbbing Gristle. Preoccupations with language and perception generally lead the works, from an exhibition at Tate Britain in which a computer randomly selected lines from William Blake's poetry to be reflected off a disco ball in Morse code format to ""Inverse, Perverse, Reverse,"" a large circular mirror that showed viewers' reflections upside down, referencing Lacan's mirror-stage theory of identity while throwing a wrench into the expected experience of representation. Evans has said he wants his work to function as a ""catalyst or reservoir of possible meanings that, for the viewer, could unravel many discursive journeys."" In this series of conversations, Hans Ulrich Obrist draws Evans on these and other themes.

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9783865606334

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