Abstract
The concept of simulacra, with a propensity to diverge into in-betweenness, is a complex notion at the best of times. A dualistic structure of communication made up of signifier and signified that always produces a floating signifier, links simulacra with experience as an active agent of change. A story of divergence in an artwork can simultaneously affect the communication of it, even given no apparent narrative. This article then identifies three ways the simulacrum effects the communication of a work of art in artist-curator practice through the Deleuzian concept of simulacra, as a living recurrence of difference.
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