Gerz is trying to work against the myth of the artist. Unreflective acceptance and mechanical, linear use of language and images result in their destruction as a form of communication, similar to what Vilém Flusser analysed and described as the fate of technical pictures. Here, two positions meet that are trying to reach related, perhaps even analogous goals. Their common ground is doubt and scepticism about thing, things that are and yet are not, and the way things purport to be.Andreas Vowinkel 1992
Book edition (bookprint, adhesive binding), 214 pages, 15.5 x 9.5 cm
Paris: Édition Agentzia, 1969 (AEL 20)
Texts and photographs about the four authors of the typefaces Bodoni, Garamond, Clarendon and Elzévir are repeated 50 times.
Montevideo 1970. Knokke-le-Zoute 1970. New York 1970 (Albany 1971). Buenos Aires 1972. Lille 1972