By Robert McCarter, Frank Lloyd Wright

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Interviews as documents give material form and weight to words from the past, allowing them to endure. In their capacity as documents, interviews accrue value as time passes, memory fails, and conversation partners are lost. Some of my conversation partners are no longer living, but because I recorded our interviews, I have documents bearing witness to our exchanges. 19 Furthermore, interviews with artists deceased since the interview’s production register and signify absence in no uncertain terms; they are ghostly stories because they are about people, exchanges, and times that are irrecoverable.

Des Chene, “Locating the Past,” 76. 17. Diers, “Infinite Conversation,” 24. 18. ” 19. Sontag, On Photography, 153. 20. Seydou Barry’s memorial exhibition took place at Espace Vema during the Dak’Art Biennale 2008. Artist El Hadji Sy curated the exhibition and organized the catalog con- Ghostly Stories 39 tributions, which include texts by two members of Laboratoire Agit Art, Abdou Boury Ba and Issa Samb. The exhibition, “Traces and Echoes: Mixed Media Work by Kalidou Sy,” was at the Indiana University Art Museum from March 28 to May 20, 2007.

Or what am I to do when Sidi tells me he has performed in hundreds of towns, much more than enough to convince me that he is indeed an accomplished masquerade dancer? And what am I to do when he tells me his command of sorcery allows him to leap into trees or turn invisible? I think the answer can be found in the nature of talk itself, and the things that come with it when we are engaged with other people. This should probably be obvious, but quite of­ten we behave as if it were not. The very nature of our being, of 18 Patrick McNaughton our existence in the world, makes information a highly relative thing.

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