Last week I began with the installed environment, moved on to surfaces (painted or printed), and emerged into “ambiance.” This week I will consider how chance is deployed to install some essential attribute of the outside, inside of a work. Since visual prosody is the theme of these commentaries, “a work” refers equally to a poem or an image. The environment tailored to resemble itself there is given a voice by an artist who avoids using their own. Essential attributes of the artist’s material should reveal its relation to an outside, and a politics of visual or verbal relation beheld there. My examples are the Asymmetries and Forties by poet Jackson Mac Low and two iterations of the Colors series by painter Gerhard Richter. Mac Low and Richter are equally motivated to exhaust the forces named by “chance” and its cognates so as to question received critical values and to essentialize aesthetic values of their media.
In post 13, when I spoke of Blanchot and translation as a step outside time, I briefly mentioned UK critic and Galician literary scholar Kirsty Hooper. Her landmark book Writing Galicia into the Worldis also a step outside time, one important to translation in a critical sense and in a wider optic. Its mission is other, but it opens up the stakes of translation itself, in a way that is co-incident with, and that has learned from, ideas of writers such as Édouard Glissant and Gilles Deleuze. Her work allows us to look anew at what it means to cross the borders of language, and better understand literature’s role in this crossing.
To tweak from the press website, the book’s “key theoretical contribution is to model a relational approach to a nation’s cultural history, which allows us to reframe a culture often dismissed as peripheral or minor as an active participant in a network of relation that connects local, national and global.”
The exciting thing is that it opens many possibilities to future investigators, and not just to those who study Galician culture (though, please, folks, do study Galician culture!). Hooper’s work is also co-incident and co-intuitive with ideas such as Anne-Marie Losonczy’s “cosavoir,” or “co-knowledge,” a current influence on the production of Quebec poet Chantal Neveu and others.