Danh Vo’s “untitled” and “Cathedral Block, Prayer Stage, Gun Stock”
              Harry Thorne
              We create our own artworks. Regardless of their maker or mark, we push ourselves through the objects and images that deign to confront us and, as such, shape ourselves and our newfound companions into something other than we were before. It could be said that when we interact with art objects, we actively collaborate with another, with one another, which is a pleasant way of narrativizing our lowly passage through life: we work alongside the many things of the world so as to generate meaning. This notion of incorporeal co-existence would suggest that the self is an entity less fixed and singular than it is multivalent, multiplicitous, more. The memory of Édouard Glissant floats, preaching the oft-quoted pledge “not to be a single being”; Antonio Gramsci, cited prominently in Edward Said’s Orientalism (1978), writes of “‘knowing thyself’ as a product of the historical process to date, which has deposited in you an infinity of traces.” Self as infinity. Infinity as self. Vietnam-born Danish artist Danh Vo speaks in similar tones: “I don’t really believe in my own story, not as a singular thing anyway. […] I see myself, like any other person, as a container.” But are we containers or conduits? Do …

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