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Cesarco's interest in the book lay in this very distance. The poetic is the rupture in the signifiers ability to conclude its meaning, a fissures for the breath of the subject, the gap in meaning. Establishing the lineage of romanticist sublimity to Conceptual art's non sequitur. Like Gonzalez-Torres, Cesarco's distance (continually expanding and collapsing) between the signifier and its lost or depleting signified amends a weight to this gap, it itself representing an emotional distance. E.g. our suspension from high-def's physicality, touch of other's neck, flowers erotic, establishing the disconnect as the pathos. The man with a cane considering the crashing of waves mirror the person rifling a Roni Horn catalog depicting a woman over years and seconds.
Cesarco's appendix projects a book the viewer constructs, provisional and incomplete. Like Heubler's project of the same name, the gaps in the construction force viewers fill of it, extracting it from us, “The story is a surface” projected by the thousand mottled points of reference, you standing before their rupture, poetic.
See too : Jason Dodge at Franco Noero , Sean Raspet at Jessica Silverman , Simon Starling at Museum of Contemporary Art Chicago
