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By turning the painting into an accumulation of "Brodmann moments", in a sort cave-painting/graffito mode, Brodmann compositionalizes his semio-capital, transmuting it into information, into a field of redirects failing to place it anywhere, turning it into painting as sort of recursive field, allowing to renege on the artist task of "be Brodmann" while being Brodmann.
see too: Julien Ceccaldi at Jenny’s Fredrik Vaerslev at Centre d’Art Contemporain Passerelle, Vittorio Brodmann at Freedman Fitzpatrick