Nothing. The spot is an empty passageway between two buildings, empty of everything but emptiness. Through KDB's and their effect in our ways of seeing, the book intends to explore and deepen the concept of and its , proposing a work that's situated at the border of different artistic disciplines, from to to and to . , KDB collects and re-uses pictures and supports from old magazines and papers, engaging them in a vision that occurs directly in the , becoming thereby more physical and tactile. KDB gives new meaning and life to what is , saving the images from destruction and including them in a new narration that combines and . Hers is therefore a work about , although never by a process of accumulation but by way of . The images are deprived of something that disappears from view but remains perceptible and refers to a kind of entirety. The collage itself is a signal that's , the that is hence never . KDB's work calls to mind the techniques of or , using the as or that determines what is visible and . Keeping in mind the collages' highly content, the book takes therefore inspiration from 's filmic sensitivity, along with a few suggestions from the arts, that share his . Like the Italian director, whose 'interest - according to John Berger - is always the event shown', Avarie has been trying to focus its attention on the elements of the collages, such as the cut-out photographs and words from KDB's notebooks or the reverse side of the support papers. In particular, the position of the texts in the book allows to frame the collages : the void actually specifies itself as an . KDB's - as - interact with Antonioni's writing which inhabits the book's interstitial spaces: the extracts here inserted derive from what he himself defined as , series of he never found the chance to shoot. Texts therefore, that belong not less to the order of as they render perfectly perceivable an image that doesn't exist.
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