The postmodern Spaces and Metaphors of Allan Kaprow

The Postmodern Spaces and Metaphors of Allan Kaprow  

Dr. Mohammed Sameer Abd Elsalam 


This is an avant garde, postmodern  performance work which was created by Allan Kaprow in 1961.
In his postmodern practice, Kaprow reminds me of the free play of signs according to Derrida, and Ihab Hassan's perspective  on the difference between purpose in modernism and play in postmodernism, and also between design in modernism and chance in postmodernism in his great table in his book about the postmodern turn.
Kaprow put us in an experimental,  metamorphic space to see the hidden infinite number and the metaphorical relations between the signs of car tires.
I love these dynamic interactions between our cognition, dreams and the probable,  metaphorical existence of things, that an artist, a viewer and signs are all in this huge, open artistic context.
why did Allan Kaprow choose the car tires?
He maybe intended to reveal the massive postmodern margin of the creative functions of signs and relative snapshots that we can reproduce them to interpret ourselves and our pluralistic worlds.
finally, we can put ourselves in these dynamic car tires as Kapow did to live in the relative state of the seduction, and to see some other lights of the dream signs which live under the phenomenal design and its growing or its hidden becoming of the internal relations between the thing and the postmodern performance.
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