Traps Against Capture

This chapter attempts to construct Deleuzian logic of the trap around the sculptures of Andreas Slominski, exemplifying the desire to explore art's abstract machines without thinking about signification. It suggests that Slominski's work was able to capture an ambient mode of and for contemporary art where encounters with the object occur under unclear terms because any possible critical distance makes way for an involvement for which form is simply permeable. The chapter discusses art's operating logics, using Gilles Deleuze's Logic of Sense to suggest an art of surfaces and of non-discursive surface humour.
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Reprint years 2012
DOI 10.3366/edinburgh/9780748638376.003.0013
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