{"id":1159,"date":"2011-11-02T00:00:00","date_gmt":"2011-11-01T23:00:00","guid":{"rendered":"https:\/\/bulegoa.org\/web\/glossary-translation-by-carla-zaccagnini\/"},"modified":"2019-04-03T15:14:17","modified_gmt":"2019-04-03T13:14:17","slug":"glossary-translation-by-carla-zaccagnini","status":"publish","type":"post","link":"https:\/\/bulegoa.org\/en\/glossary-translation-by-carla-zaccagnini\/","title":{"rendered":"Glossary: TRANSLATION. By Carla Zaccagnini *"},"content":{"rendered":"<p><strong>Nofuinidieike (one who eats stone)<br \/>\n<\/strong><\/p>\n<p>To translate is also to make mistakes, to fall into and construct wrong meanings. It is to speak of oneself with a foreign, predefined word organization. It is to find the spaces (margins, cracks) in a certain (con)text that can be used to project content, slightly shifting a meaning to appropriate what we might have said and adjust it to our own way of speaking. It requires some delicacy, in order that the original text still be readable, and that the mistakes can be complained about without the trickery being noticed. Like a bad actor, or one too good, who gets the pronunciation or intonation wrong in a sentence and in doing so changes the interpretation of an entire classic.<\/p>\n<p>This idea of translation as a strategy for writing with given (or lent) words structures the construction of this acceptation of the term in the Glossary. The text is to be written by bringing two foreign discourses \u2013 attempts at translation in themselves \u2013 together. Translation, in both cases, as a movement which transfers meaning, not from one language to another, but from one type of matter to another, from the sculpture to the verb. On one hand, the attempt to build a verbal and tactile bridge towards Oteiza\u2019s <em>Homenaje a Vel\u00e1zquez<\/em> sculpture; on the other, Oteiza\u2019s attempt to sketch an aesthetic reading of Pre-Hispanic megalithic sculptures.<\/p>\n<p><strong>Carla Zaccagnini <\/strong>(Buenos Aires, 1973) is an artist, writer, and curator, who lives in S\u00e3o Paulo. Strategies for creating meaning through forms of displacement, deviation, approximation and reorganization are often found in her works. Among her most recent exhibitions are her participation in the 28 Bienal de S\u00e3o Paulo (2008) and the solo shows <em>Bifurca\u00e7\u00f5es e encruzilhadas<\/em> (Vermelho, S\u00e3o Paulo, 2008), <em>no.it is opposition.<\/em> (AGYU, Toronto, 2008), <em>Imposible pero necesario <\/em>(Joan Prats, Barcelona, 2010) and <em>Plano de falla <\/em>(Ignacio Liprandi, Buenos Aires, 2011).<\/p>\n<p>*This presentation is linked to the Glossary, and also to <em>Una, dos, tres, cuatro paredes<\/em> (\u201cOne, two, three, four walls\u201d), Bulegoa z\/b\u2019s contribution to <em>Estancias. Pr\u00e1cticas restituyentes sobre la Colecci\u00f3n ARTIUM<\/em> (\u201cSTANZAS. Restitutive Practices on the Artium Collection\u201d) (<a title=\"www.artium.org\" href=\"http:\/\/www.artium.org\">www.artium.org<\/a>).<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Nofuinidieike (one who eats stone) To translate is also to make mistakes, to fall into and construct wrong meanings. It is to speak of oneself with a foreign, predefined word organization. It is to find the spaces (margins, cracks) in a certain (con)text that can be used to project content, slightly shifting a meaning to [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":8339,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[36],"tags":[],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Glossary: TRANSLATION. 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