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Clockwork Gallery

 

Saâdane Afif

Sophie Aschauer

David Barbarino

Andy Boot

Katarina Burin

Oscar Carlson

Amanda Dennis &
Rachel Pimm

Gazmend Ejupi

Mario Grubisic

Katie Guggenheim

Mathew Hale

Alexander Hassenpflug

Joel Holmberg

Jefford Horrigan

Thomas I'Anson

Atalya Laufer

Susan Morris & Georg Marshall

Aki Nagasaka

David Ostrowski

Michail Pirgelis

Matt Saunders

Georgio Silverio

Tomomitsu Tada

Anne Thompson

Ulrich Urban

Viennabiennale

Dolores Zinny &
Juan Maidagan

 

TO BE CONTINUED
I remember now you asked if there was, if something, like a connexion or a possible link in between the quality seal on the window and Jorge Louis Borges' short story, I know now and probably knew that this question, which I start asking me at the instant I saw the aleph written on that nail, would never abandon my chances to forget. After so many years I adventured a number of answers which shortly after I had to refute or to forget, on and on, with times of being more relax and cool or almost completely indifferent to it, this question. Sometimes for longer period of times. It is true that has never  become a nightmare but true as well was that often caught my dreams, where, off course I did not find much of a beginning of any solution... in the afterwards what I have there are a number of assurances... first I know he was there more that once, at least three times as far as I can say, visiting friends, the city has some British heritage left in people, stories, architecture, tradition... this was a reason for him to make a visit... and particularly Fisherton, the neighborhood where the train station Antartida Argentina is located, easily if he was in the neighborhood it is almost impossible not to think that he must have had visited the station, with its tutor architecture, all of this, I know, does not confirm that he saw the nail, but thinking in having him walking the station up and down, shaking hands with the chief, it is so exciting for me; the very first time I saw this aleph I put my finger on top of it, covering it entirely, hiding it from my companion and my vision, like a sign of not willing to give any credit to my eyes, but also like a gesture of recognition and, at the moment of that exact gesture I thought only and exclusively in Borges, as if he, years past, may have done the same, but in a different intention as if like a blind person would have done it, as if the nail itself with it's relief would have being meant for a blind person, as if in the gesture of touching and recognizing something very specific something could be given and taken, and in this way, as with the wind from the north, the position facing the north and facing a station and facing the area and facing facing I could have understood an order, in his story he says: "I would like to know whether C.A.D. chose that name or whether he read it -- applied to another point where all points converge”, and: “Incredible as it may seem, I believe that the Aleph of Garay Street was a false Aleph."
In reading and remembering this lines I wanted to be sure I have say something, convinced in a possible relation, window and short story, was what it move me to a second incursion to make photographs, because what I think now what I thought then, that day, to photograph the train station on looking at the shooting and on the times to come for possible connections with Borges literature could appear, in a number of stories and poems he mention the tile at his childhood house, why not the tiles at Antartida Argentina Station. I arrived to a certain state of mind…