GaLGaLIM 1984
Three bicycle wheels, galvanized metal pipes, bronze, rope 104 meters..
THE MAKING OF THE WHEEL
Remember, if the Wheels, on the whole, are visible and directed towards the "Eternal Poetry" - then, and at the same time, they are directed towards the nature of the common values of the Guest. That is, towards the memory of the Guest - the very embodiment of the Guest's creative actions that continue to unite him with the movement of the Wheels.
It is dynamic, in that it is a constant counting of the Wheels' spokes.
Yet in the end, the gesture of counting can transmute the moment of counting itself into any form of MEASUREMENT - that is to say, that the action of measurement succeeded in introducing the Guest himself as the basic structure of what 'a temporary shelter' expected to be.
To begin with, for the Guest, the three Wheels are now one world - [that is the impact to what may prove to be the visual elements of the essence of 108 spokes ] - to be realized as an Artwork.
In this context, then, the Guest's attitude towards the essential problem of the Museum's world of politics is already readable and transparent- after all, it is the Guest's [sacred] memory about his own voluntary retelling.
The given-memory which continues, and is, in fact, developing still further the rule of measurement[s].
Therefore, the Guest's daily ritual of measurement is the guiding principle of the inseparable relationship between Reading and Writing - which together symbolizes the intolerable conflict between "The Culture of Desert", and "The Culture of Forest".
Indeed, the less said about the Guest's daily measurement i.e.
the daily measurement of the distance which separates the Desert from the Forest - the more one speaks about the museum's physical, and therefore psychological constitution.
In this way, and between the image, and the text, the Guest's Artwork is the material of unveiling, and the continual demasking of the Museum's 'secret' messages.
Hereafter, the Guest's visible daily gesture of measurement[s] is not the Artwork which is physical, nor yet the placing of the Artwork in the public sphere, but the two taken together as a certain given - we shall call it, the future of the BirthPlace of the Guest.
Please note: the Guest is already tempted to emerge - because, the 'power-void' i.e. the absence of his BirthPlace has taken him back into the double ritual of Reading while Writing.
So, it is indeed certain that the double 'transformation' of the body of the Guest into a "double" singular memory, only serves to deepen the distance which continues to separate his own counting, from that of the museum's strategic counting.
This situation becomes the essential component of aesthetic awareness, without which the c.o.u.n.t.i.n.g. of the Guest is inconceivable.
Signed here - Joseph Semah 1984
OFAN - ANGEL, WHEEL...;
