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The work chosen is the work by Argentine artist Pablo Lehmann

The work by Argentine artist Pablo Lehmann is made by cut shapes and texts from large sheets of paper and synthetic cloth. Sheets have been used to come up with three-dimensional installations that resemble furniture.  The various pieces are constituted of texts, made of paper and plastic draft. In the paper technique, Lehmann first writes the text and then cut out the words at their edges. As for the plastic he uses letters that melt so that when these are blasted and brought together they make up a structure where the hit finally forms a text.

Some of the work is made of paper, and the idea here is to present pages of a book that entirely consists of text. The figure has been materialized by words, which have been deployed at their edges, so that the interstices so the letters represents the emptiness of what have been cut. With the curved and quite messy lines, the text makes a suggestion of a shape of a book with its pages open. This work somehow frames the research process of Pablo Lehmann and his relationship with his "aesthetic task". His work of art spins around finding ways to surround, build and encircle an empty centre that pusses the words along the edge. It seems that Pablo Lehmann takes pleasure in bringing about the meaning of texts to the level surface of nonsense, to a misleading space. His work seems to overshadow the meaning and the preponderance to the signifier, the bits and pieces of the text. The particular art of work seems to bring the language close to a nebulous of meaning, and conceivably that is why not any of his works in the part of the website works are presented as a rejoinder.

This work of art occupies space, and it turns out to be legible when one approaches it, and gives it credibility to the ruse he has before, and get on a physical and rational work to endeavor to read between the lines, to get meaning, causing knots among this "reading" act and his individual history. There is no particular way of reading, there is no path for interpretation, and Pablo Lehmann has attempted to provide signs or signals the reader, through intuition and will, can find traces of ownership and takes the bet, between shadows and decoys, to come up with the visibility of what the work of art suggests. The work is texts and every text is a gust of citations, an interweave of noteworthy ties.  The words that look like intelligent are dumb if the reader interrogates them and that's why reading them is a question, a thing that invites questioning. This work of art reminds me of the whole work of Arthur Bispo from Rosario, his utensils caught in threads, his embroidered writings. The two works helps one to discover the right meaning of the word meaning.

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