Central to Lawrence Weiner’s conception of art is the notion of “translation.” In his exhibitions held in numerous countries around the world, the artist often presented his textual installations in local dialects (or combinations thereof), playing with the changes of meaning that occur when a sentence is rendered in another language.
Throughout his vast body of work, the artist also referred to “translation” in a broader sense. Not only did he focus his attention on the transfer of words from a language to another, but also on the ways in which words can be transferred to a different medium, material, configuration, space, or culture. As a master of displacement, Lawrence Weiner always promoted a cosmopolitan understanding of art, in which forms and ideas are meant to travel.
In this sense, the edition conceived for Keijiban is subject to various personal interpretations, depending on the viewers’ experiences and situations. It should be noted that the English and Japanese terms (“enough” and “足りる”), though accurate translations from one to the other, are certainly not interchangeable. Each has its own presence, color, shape, as well as its own semantic field. The terms only coincide within a limited area, illustrated by 足りる, slightly stepping on its counterpart—“足” being the ideogram for “foot,” for that matter.
The term “enough” relates also to the context of the keijiban, the outdoor notice board for which it was conceived. This edition can be viewed as an ironic and empathetic way of touching upon the minimal conditions for exhibiting art, by an artist who has displayed his works on surfaces as diverse as museum walls, billboards, manhole covers, boats, flags, and hats.
Finally, ENOUGH happens to be one of the last works—and words—of Lawrence Weiner. This single term resonates in a powerful and poignant manner, but it is also perfectly in tune with a remarkable career and philosophy based on simplicity, aptness, meditation, and disruption.