Review
It is therefore our field of references that is in need of redistribution: Fareed Armaly’s Terminal Zone (1988); Orphée 1990 (1990), Saint-Etienne; Contact (1992), Nagel Gallery, Cologne; Bre-ak-down (1993), Palais des Beaux-Arts, Brussels, all re-evaluate our cultural landmarks and ideological frameworks. Exchange zones, passages: art represents that position which makes way for a critical geography. In the space constituted by our episteme, Armaly, with his nomadic mixings, elaborates an emancipating economy and a mental archeology of the art system wherein, all told, it is the frontiers and territories of art that are called into play. With the works Terminal Zone, the atypical publication that fosters the confluence of rock, culture, and our identities, Bre-ak-down, where the architecture of the institution along with its attendant ideological presuppositions are deconstructed, and the piece presented in Project Unité, with its radio project for the residents of a housing development, Armaly is always engaged in the task of redirecting our references and hurtling across those barriers that would have our identities as limited as they are structured.
As a result of all this decentralization, it is always the institutional framework that winds up adrift, and the shift leads us to a situation which often passes us by unnoticed, whereby there is no such thing as art without a free reorganization of its culture and representations.
(Excerpt)