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Meanings of Translations

FOUND IN TRANSLATION: ART AND LANGUAGE IN GLOBAL CULTURE SAN FRANCISCO CENTER FOR THE BOOK SAN FRANCISCO MAY 12-JULY 21, 2006 FOUND IN TRANSLATION: ART AND LANGUAGE IN GLOBAL CULTURE (EXHIBITION CATALOG) NEW YORK: BOOKLYN, 2006 40 PP./$20.00 (SB) Book artists are in such a state of constant translation that they should take day jobs as foreign correspondents. With issues such as text, design, concept, images, sound, and general movement bound within the confines of the page, authors dance within a meticulously crafted score. In some ways, book artists are the ultimate control enthusiasts. The artists present exactly what they want you to read, see, feel, and hear. In most publishing houses, these myriad tasks exist in four different departments--but in book arts they are combined in an exciting challenge to attain visual literacy. The recent book arts exhibition "Found in Translation: Art and Language in Global Culture" was curated by Marshall Weber and produced by the Booklyn Artists Alliance. But what does, and what can, translation mean? It can be a transition, an in-between space where words and ideas float around in space. It can be letters dancing in front of your eyes, creating anagrams out of all possible meanings. Weber's curatorial statement proposes that, "In our bodies we find the forms of our alphabets, and vice versa." This waltz of discovery, and potential pile of secrets, is one of the exciting aspects that artists' books and "Found in Translation" have in common. Moving past the notion of presenting the artists' book in an enclosed glass case on a glowing white pedestal, the books in this exhibition are allowed to be books. Accordion pages line the walls at eye level, allowing viewers to move in space and time with the pages, their bodies bumping and stepping over other texts displayed below. The works overlap and, in constant exchange, walk the line between needing more breathing space and being comfortably in sync with one another. It is as if the books in this exhibition are one piece, their singularity emerging only when the viewer physically touches the pages of an individual book. "Found in Translation" is successful as a multi-media exhibition, representing the wave of interdisciplinary work that has appeared in the arts of late: whether in studio practice, research, or exhibitions. The exhibit includes framed photographs, traditionally bound books (including historic texts with frayed and yellowed pages encased in fine, red cloth), and less traditional books with audio and computer-based accompaniment. One piece even offers a zip-locked plastic bag full of salt-and-pepper hair from a beard. This exhibit encapsulates the constant multitasking that is now embedded in our daily routines. Visitors' eyes are drawn to a photograph, while their fingers are attracted to letterpress pages and compelled to sift through the notebooks of M.T. Karthik and A.P. Ferrara's Discourse on the Polarizing Events of 2001 (2006). The room is an interactive game of the senses. [ILLUSTRATION OMITTED] Coupled with headphones, Jack and Betty Forever (2005) by Veronika Schapers and Yoshinori Shimizu presents itself as a fitting example of the exploratory scope of this exhibition. A stellar and simplistic design consisting of letterpress print and linocuts on graphed, store-bought, Japanese notebooks, this piece offers an English and a Japanese version, the overlapping languages meeting in the gutter. Printed in an edition of thirty-five, Jack and Betty Forever comes with a compact disc of old recordings of the rigid dialogue from the original Revised Jack and Betty, a textbook used in the 1950s and 1960s by Japanese students learning English. The short story weaves through a dialogue and budding relationship between Jack and Betty, thirty years after their days as young students. As the reader follows the language of these two characters, it is clear that the words they choose are still firmly rooted in the way in which they initially learned English. …