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Partial view of This Is Not to Say that This Is Not the Case, mixed-media, 2004.
“Brecht: ‘This beer isn’t a beer, but that is compensated for by the fact that this cigar isn’t a cigar either. If this beer wasn’t a beer and this cigar really was a cigar, then there would be a problem.’ In the same manner, this war is not a war, but this is compensated for by the fact that information is not information either.” (Jean Baudrillard, The Gulf War Did Not Take Place). Saddam is not “Hitler revisited,” but this is compensated for by the possibility, entertained by the Western intelligence agencies when confronted by one of his televised appearances, that Saddam is not Saddam (but a look-alike). The hysterical eponymous protagonist of Hitchcock’s Marnie is neither Margaret Edgar nor Peggy Nicholson nor Mary Taylor (the names she assumes in her various jobs), but that is compensated for by the fact that the drop that triggers her panicked reaction is not blood but red ink, and by the suspicion that the hull at the end of the street where her mother resides is not really a ship but a painted backdrop. In addition to Hitler (and his Beer Hall Putsch), Saddam (and his cigar), and Marnie, This Is Not to Say that This Is Not the Case (2004) brings to mind the symmetry trick, time transfixed, elective affinities, boundless recognition, decalcomania, the false mirror, the treachery of images, the alarm clock, the voice of blood, check mate, the killer in danger, swift hope, freedom of thought, attempting the impossible.
This Is Not Hitler, 1940s version (Looped excerpt from Ernst Lubitsch’s To Be or Not to Be, 1942). This Is Not Hitler, 2003 version (Looped TV footage of Saddâm Husayn, April 2003).
This Is Not Blood, but Red (Looped excerpt from Alfred Hitchcock’s Marnie, 1964).
Looped excerpt from Marnie.

Magritte, The Treachery of Images, 1928-1929, oil on canvas, 62.2 x 81 cm, Los Angeles County Museum.

This Is Not Magritte’s The Treachery of Images.


— Premiered at Present Absence: Contemporary Art from Lebanon, curated by Anne Maier, Galerie Tanit, Munich, 7 May - 25 June 2004.
Love It or Leave It, the 5th Biennial of Cetinje, curated by Rene Block, Kassel, and Natasa Ilic, Zagreb, and realized by the National Museum of Montenegro in cooperation with Kunsthalle Fridericianum, Kassel, Germany, 20 July - 19 September 2004.



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