Maybe it has always been the case that one inscribed into an already existing, everlasting text; into a story, a narration that always reinvents itself, continues boundlessly by reconnecting with other elements. The Infinite Library (Daniel Gustav Cramer & Haris Epaminonda) is not a library in the sense we know it but rather a space in which endless possibilities can emerge. As an index it recalls the Library of Babel by Borges. The books that the two artists compose constitute volumes that result out of different combinations and juxtapositions of existing books which, after taken apart, are later joined together to create new volumes. The books now stands autonomously not as narrative structures constructed by the text flow but by an associative system of imagery and intuitive conceptions.
The book is not considered as a module or house but as a transitory space. I am in the hallway from which every gateway points to something external, outside the door. By combining the individual volumes with each other, the in-between space is in a constant state of renewal. It is this form of being in-between that is inherent to the work of Falk Haberkorn. In reference to his 2007 work Sema, he elaborates on the never-ending work on text, on his own artistic work. “I have always begun to speak, always tried to inscribe, to say what I cannot say.” (Falk Haberkorn).
In contrast to previous works Falk Haberkorn appears as the author himself. He reflects upon the role of the artist, authorship and script in form of a commentary or addendum that itself can be regarded as a fragment of his work. The moment of the bookshelf: emblem of manifest knowledge and cultural sharing. The work shown here does not attempt to ignore this moment or to defer the formal side of the sign in favor of content: it rather expands this moment to infinity.