TO MICHAEL HOFSTETTER
In approaching the mannerisms in which Michael Hofstetter’s work inhabits and dishabits the euphony of desire, I am moved to explore naming the limits of what we see. We meet each other in 1991, at the Galerie der Künste, 11 years before I am born, facing a threshold, a fold; towards a theory of Oram Littoris Primi Lego.
But no world is actually one world. The feeling that one lives in the best condition of the world unveils the intuition that there is always more than one world in the world at any one time.1
Elizabeth A. Povinelli
ESSAY
Fig. 01. Extimité.