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edition 30, 197 pages

Technique: Xerox Phaser 7760, Ricoh Priport 1250, Silkscreen
Paper: Munken Pure 100 gms, Cardboard 290 gms

In Peter Fabo's previous literary and exhibition work we have discovered a shrewd system whereby we, the viewers, are taken through the landscape of the author's personality. The viewer no longer wanders but safely passes through a landscape defined by the relationship of the author and his long-time partner, through a landscape optically deformed by perspectives through crystals, he or she passes freely and safely through fragments of landscape connected, collage-like, by shards, scraps and edges arising out of modernism, constructionism, handcraft...
The work which we currently hold is similarly to his preceding work framed by the photographic archive of its creator. What defined its final form is, by contrast with previous realizations, chance, more exactly conscious chance as wielded by the artist. The chosen algorithm of sequencing individual images is a software key ordering files and documents according to a specific program (Word, iWork...), to the initial letter, number, the date of creation etc. Fabo decided to subject his selection to a different means of fragmentation to that which is so frequent in his work. Ingenious composition, so integral to Peter's previous work is here replaced by the arbitrariness of a program which orders in a non-speculative, non-preferential manner, in the narrative key of an internal logical framework. Even so in pausing and passing through the leaves of the book I find stimulating relations between (individual) pages.
I find that it is our memory and interpretations forming on its platform, rather than the aspiration of the author, which beforehand set the mode of perception. This Peter's play with the non/existence with work, documentation, and memory is a stirring walk around landscapes where it is possible to find messages touching the meaning of creation itself. It challenges the fetishization of a work, the gallery space, and the art market by making its object of interest unintelligible and temporary. Peter presents to us, the viewers, the never-ending story of the process of creation in its perhaps most elementary form, in form where the output itself becomes the material of creation.

Vladimír Pešek