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Paulo Bruscky, “Xeroperformance: Art without an original” (1982), color xerography on MDF, 13.8 x 8.5 in (image courtesy the artist and Galeria Nara Roesler)

While we’re accustomed to snapping photographs of our surroundings on a daily basis, the images xerox machines produce are somehow still exciting. In 1980, the Brazilian artist Paulo Bruscky began his series of Xeroperformances, where he copied parts of his body on a xerox machine and developed a kind of alter-ego. “Xeroxart is the recording of the mo(ve)ment,” he once said. “I always thank the machine for its creativity.”

Thirty-six years later, Bruscky is performing this work at the Americas Society. On Wednesday, the public is invited to collaborate with the artist to make copies. But don’t expect to leave with a straightforward impression of an object — Bruscky likes to distort and superimpose his images, interfering them with light.

This will also likely be an opportunity to meet a fascinating artist who made daring work under the military dictatorship and participated in the international mail art movement. And, if you find that you want to learn more about Bruscky, Galeria Nara Roesler is currently having an exhibition on his classified advertisements and performances on the Upper East Side.

When: Wednesday, May 24, 6–8pm
Where: Americas Society (680 Park Ave, Upper East Side, Manhattan)

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Elisa Wouk Almino

Elisa Wouk Almino is a senior editor at Hyperallergic. She is based in Los Angeles. Follow her on Twitter and Instagram.