The time and the movement of disfiguration—using this word as a kind of shorthand—continued, and continue to occur in various ways in our own time,1 but we might suggest that they all have something in common in terms of a trans-figuration in the sense that I have just outlined: a passing, a transience and an uncertainty, the fragility of a light touch, or an allusion. The portrait does not seek to capture the identity of a figure, nor does it seek to capture identity within a figure: Rather, it allows for something to approach and recede, so that it is less a question of identity than of presence, in the sense that this latter cannot be identified with pure position, to a being-here that is duly located or assigned to its place but, in an entirely different way, ...
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