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It frames books, landscapes, photographs, and textual works as forms of invitation, translation, and displacement, focusing on the gap between reader and page and the difference between original and new artistic entities. It also examines contemporary devices that transform “the same” through splitting, reversing, slowing, and speeding, revealing interpretive 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does the exhibition argue about reading in art?","Question",{"text":112,"@type":113},"It presents reading as a process requiring careful, close attention line by line or inch by inch, creating slowness akin to traversing a story to be taken into it.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"How does the text connect artwork to translation?",{"text":117,"@type":113},"It claims the works make translation explicit, showing how the world is represented through books, maps, models, signs, and diagrams that stand for something beyond themselves.",{"name":119,"@type":110,"acceptedAnswer":120},"What contemporary art strategies are highlighted in the text?",{"text":121,"@type":113},"It emphasizes devices that present the “same” thing differently—such as splitting, reversing, slowing, or speeding—often revealing how interpretation shapes information presentation.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},567008,1792404420,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":14,"category_name":15,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":14,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":139,"language":140,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":67,"update_tm":144,"read_time":62},137441390410,"https://ap-avatar.wpscdn.com/avatar/2000252f4ab5702993?_k=1776741390130283984","Pierre Bismuth  \nAdam ChodzkoAdam ColtonTacita DeanGuido GeelenGraham GussinJussi HeikkiläPierre HuygheSteve JohnsonElizabeth LeMoineGary PerkinsKathy PrendergastVincent ShineCharlotte von PoehlChristopher WilliamsRichard WoodsElizabeth Wright  \nat one remove  \nDigitized by the Internet Archivein 2022 with funding fromKahle/Austin Foundation  \nhttps://archive.org/details/atoneremove0000unse  \n出branItat one remove  \n\n|  | INTO A LOW SUN  \u003Cbr>EAST DART RIVER  \u003Cbr>GLISTENING FROST  \u003Cbr>LONGFORD TOR  \u003Cbr>LITTAFORD TOR  \u003Cbr>FOX TRACKS  \u003Cbr>BETWEEN THE GRANITE  \u003Cbr>CROCKERN TOR  \u003Cbr>WEST DART RIVER  \u003Cbr>DOWN FAST GROUND  \u003Cbr>OVER A DRY WALL  \u003Cbr>ROYAL HILL  \u003Cbr>BOGGY AND SLOW  \u003Cbr>STRANE RIVER  \u003Cbr>RIVER SWINCOMBE  \u003Cbr>ACROSS STEPPING STONES  \u003Cbr>LEAPING  \u003Cbr>FOXTOR MIRES  \u003Cbr>FLOATING GROUND  \u003Cbr>GREAT GNATS HEAD  \u003Cbr>SUN SETTING  \u003Cbr>BROAD ROCK  \u003Cbr>CREAKING ICE  \u003Cbr>LANGCOMBE HEAD  \u003Cbr>FULL MOON RISING  \u003Cbr>YEALM HEAD  \u003Cbr>DARKNESS  \u003Cbr>DENDLES WASTE   |  |\n| --- | --- | --- |\n| AI   | PAR  \u003Cbr>B LIBRABY LTTW   | STRAIGHT TWELVE MILE WALKS ON DARTMOOR  \u003Cbr>ALLEL    MILE APART OUT AND BACK ONE DAY  \u003Cbr>LAND 1980  \u003Cbr>O   |\n|  | ENG  \u003Cbr>9 420821E   |  |\n|  | D03649   |  |\n|  |  | From Richard Long,Twelve Works,Coracle Press,London for Anthony d'Offay,1981   |\n\n工  \nStories absorb and enrapture us,and some of the mostabsorbing items on gallery walls in recent years havebeen the work of people who know how to tell a goodstory.Though they tell very different kinds of tales,thewriting of Tracey Emin or Bethan Huws is sufficientlycompelling to transport us elsewhere.Such work codifiesthe more lengthy experience we go through in taking agood book to bed.  \nBooks extend an invitation to another world;some onlyimplicitly,others,like travel books or science-fiction,absolutely explicitly.The very interest which artists haveshown in these two particular genres points to thecurrency of that invitation-the artistic creation as filter orpassport-and its position in envisaging the other.  \nThis exhibition begins as one about reading,and abouthow our imagination fills the gaps.It is also about readingbecause the works require careful and close attention,lineby line,or inch by inch.There is thus a certain slownesshere.Such scanning is reminiscent of the way we need totraverse enough lines in a story to be taken into it,beforewe can be taken out of it.It is through the build-up of  \ndetail that a window is opened onto a wider terrain.But ifthe works here are about reading,they are even moreabout translation.  \nII  \nPerhaps the single feature which most unites art fromany period is its potential to transport us.This is as true ofa landscape painting by Caspar David Friedrich as of aphotographic or textual work by Richard Long.  \nThe image of the lonely traveller,facing the splendourof nature,turned away from us,is not dissimilar to theimage of the reader,absorbed in the pages of her book.Both show subjects who,in being absorbed in their owncommunication,represent the potential of the artwork totake us outside of ourselves.At the same time,theyrepresent exclusion,in that we can never be fully there,but only imagine ourselves to be so.  \nThe image of the reader is a rich one,for it speaks to usboth directly and indirectly.It represents a generalexperience with which we are familiar,but denies us accessto the particular experience that the other reader is goingthrough.This gap in our knowledge is virtually  \nrepresented by the space between the reader's eyes and thepages of the book.It is in that gap that we envisage theirreading process as something almost substantial.  \nThis exhibition ties together these two elements ofthe artistic experience:the translation of the worldoutside,and the displacement which goes with it.It focusesparticularly on the difference between the original versionand the new artistic entity which is at once dependent on,and independent of,its original source.  \nIII  \nThe slippage between source and copy,or betweenversion 1 and v","cbCailAKQaBqhj91","https://ap.wps.com/l/cbCailAKQaBqhj91","pdf",3380072,68,"English","# Stories and the invitation to another world\n## Reading as close attention\n## Translation and the gap between reader and text\n# Transport, exclusion, and envisioning the reading process\n# Contemporary art: source and copy, version 1 and version 2\n## Film, soundtracks, subtitles, and transparency\n# Parallel space and bridging the gap through interpretation","[{\"question\":\"What does the exhibition argue about reading in art?\",\"answer\":\"It presents reading as a process requiring careful, close attention line by line or inch by inch, creating slowness akin to traversing a story to be taken into it.\"},{\"question\":\"How does the text connect artwork to translation?\",\"answer\":\"It claims the works make translation explicit, showing how the world is represented through books, maps, models, signs, and diagrams that stand for something beyond themselves.\"},{\"question\":\"What contemporary art strategies are highlighted in the text?\",\"answer\":\"It emphasizes devices that present the “same” thing differently—such as splitting, reversing, slowing, or speeding—often revealing how interpretation shapes information presentation.\"}]","at one remove | PDF",1791864686]