David Jones, artist and poet (1895-1974) begins his PREFACE TO THE ANATHEMATA :

'I have made a heap of all that I could find.' (1) So wrote Nennius, or whoever composed the introductory matter to Historia Brittonum. He speaks of an 'inward wound' which was caused by the fear that certain things dear to him 'should be like smoke dissipated'. Further, he says, 'not trusting my own learning, which is none at all, but partly from writings and monuments of the ancient inhabitants of Britain, partly from the annals of the Romans and the chronicles of the sacred fathers, Isidore, Hieronymous, Prosper, Eusebius and from the histories of the Scots and Saxons although our enemies . . . I have lispingly put together this . . . about past transactions, that [this material] might not be trodden under foot'. (2)

(1) The actual words are coacervavi omne quod inveni, and occur in Prologue 2 to the Historia.
(2) Quoted from the translation of Prologue 1. See The Works of Gildas and Nennius, J.A.Giles, London 1841.


29 March 2021

hyper-TAR ] re. STANDING (


ArtDaily Newsletter: Monday, Mar 29, 2021

Exhibition at Maruani Mercier brings together works by Stefan Brüggemann and On Kawara



Stefan Brüggemann, Hyper-Palimpsest, 2019.

Acrylic and spray paint on wood. 

2 panels, each: 205 x 120 x 5.5 cm.


BRUSSELS.- This exhibition brings Stefan Brüggemann’s Hyper-Palimpsest and On Kawara’s Today series together for the first time. The works share a central concern in their engagement with the experience of time and being in the world. Where Kawara’s work explores these ideas in series, developing his investigation from one canvas to the next over the course of a lifetime, Brüggemann works on a different axis. His engagement with these questions is a layered exploration that belies an archaeological sensibility in its emphasis on depth and its invitation to the viewer to dig down into the work. Brüggemann’s work requires that the viewer spend time unearthing and piecing together its fragments, while Kawara’s work plays with the fragmentation of time revealing the deeply arbitrary nature of the symbols and systems that we use to codify it. Between these axes of contemplation and immediacy we can chart the hyper 

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