To Be Conventional . . . Or Not to Be.
To Be Blind
translated by Paul Schmidt
What is Art? Ever since the nineteenth century the question has been posed incessantly to the artist, to the museum curator, to the art lover alike. I doubt, in fact, that it is possible to give a serious definition of Art, unless we examine the question in terms of a constant, by which I mean the transformation of art into merchandise.
This process is accelerated nowadays to the point where artistic and commercial values have become superimposed. If we are concerned with the phenomenon of reification, then Art is a particular representation of the phenomenon -- a form of tautology. We could then justify it as affirmation, and at the same time carve out for it a dubious existence. We would then have to consider what such a definition might be worth. One fact is certain: commentaries on Art are the result of shifts in the economy. It seems doubtful to us that such commentaries can be described as political.
Art is a prisoner of its phantasms and its function as magic; it hangs on our bourgeois walls as a sign of power, it flickers along the peripheries of our history like a shadow play -- but is it artistic? To read the Byzantine writing on the subject reminds us of the sex of angels, of Rabelais, or of debates at the Sorbonne. At the moment, inopportune linguistic investigations all end in a single gloss, which its authors like to call criticism. Art and literature . . . which of the moons faces is hidden? And how many clouds and fleeting visions there are.
I have discovered nothing here, not even America. I choose to consider Art as a useless labor, apolitical and of little moral significance. Urged on by some base inspiration, I confess I would experience a kind of pleasure at being proved wrong. A guilty pleasure, since it would be at the expense of the victims, those who thought I was right.
Monsieur de la Palice is one of my customers.* He loves novelties, and he, who makes other people laugh, finds my alphabet a pretext for his own laughter. My alphabet is painted.
All of this is quite obscure. The reader is invited to enter into this darkness to decipher a theory or to experience feelings of fraternity, those feelings that unite all men, particularly the blind.
*Monsieur de la Palice is the character of a French folk song who pronounces truisms. A typical lapalissade would be "Two hours before his death, he was still alive."