Leading us from the description of a research project to the final artist of an artist book, DOPOSTORIA is a thrillingly complex and multilayered object as well as an intriguing dialogue with a concept borrowed from Pier Paolo Pasolini, who coined and illustrated this neologism in a 1962 poem (“Io sono una forza del passato”: “I am a force of the Past”). Yet from the very beginning, that is in Pasolini’s text already, each of its components rapidly turns into a cluster of competing, and perhaps conflicting, meanings: “Storia” is history as well as story (narrative), while “dopo” (meaning post or after) refers not only to what comes after the traditional, linear, canonical way of streamlining the past with the help of names and dates but also to ways of thinking and doing where past, present, future, afterlife, oblivion, and confusion overlap in permanently shifting forms and constellations.
It...