Permanent Red is an exhibition named after the book of the same name, published in 1960, which brings together some of Berger’s art critiques for the Marxist magazine New Statesman, with which he collaborated for more than a decade, from 1951. And he does so without getting caught up in academic verbiage or in the metalanguage of theory. So, despite producing emblematic texts in practically all fields of writing, including poetry, plays, novels, essays and film and television scripts, what stands out in Berger’s case are his ways of telling and seeing, which restore the ideological, moral and aesthetic implications of each story or image. John Berger (Hackney, London, 1926 – Paris, 2017) is a key figure among those authors who, in the mid-20th century, questioned formalist interpretations of how images should be read from a contemporary perspective.
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