Abstract
Sandwiched between the post-medium condition, and the potential erasure of all traditional media coming from the digital horizon, Michaël Borremans delivers highly constructed paintings and films that negotiate temporal disjunctions and intermedial relations together with an expanded form of exhibition. This article sets out to unpick some of the underlying mechanisms at play beneath the surface of his work, and to uncover some of the reasons why it might be deemed to be relevant; a question the artist himself appears to be at pains to answer.
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