16 October 2014
"Things (being things) did not go exactly as planned." Given that, underneath it all, the prose of Jean Clair have a underlying religiosity, we liked start this little response with the Satanic Verses by Salman Rushdie.
And, on the other hand, with his peace, things are just like that.
Jean Clair, as regularly every six months of his and our lives, has again launched on the Republic, a tirade against modernity. Modern art is all condemned, Duchamp, Picasso, Manzoni to Hirst, through Warhol and Koons. Because the market sucks, modernity is dirty, artists throw their secretions on the public: there are no more experts, historians than once. Ah, the icons!
We remember the dear Sainte -Beuve ' when , in 1862 , having avoided in every way to talk about it, pulled by the hair , finally decides to write an article on Baudelaire. And then, according to an article of one of the biggest critics of the time , flattered and considered, MB " Has found a way to build , at the end of a spit of land deemed uninhabitable , beyond any known romance , a newspaper stand very ornate, yet flirty and mysterious .... that for some time attracts attention at the very tip of the KamÇakta romantic , I call it folie Boudelaire . "
Now the Kamċakta has invaded the world , with opium , the trappings , its wonders. The good Clair is building his kiosk , made of good manners and good reads , tasteful and quiet, perhaps in front of a roaring log fire with his full-bodied wine . A quiet place well lighted . The problem is : in the global market , today there is a strip of land that is outside , place of wild icons, coteries of preparations and prudish historians, fine painting with bodies cleaned and angelic ? We do not think so.
Things did not go as he wanted Jean Clair, but for this to be denied ?
We recover and expand an example of Francesco Bonami . Take three skulls : the Mitchell-Hedges Crystal in 1600 BC, the Gabriel Orozco Black Kites (1997) and For the love of God by Damien Hirst (2007) . Surely the first would be the chosen one of JC , the others would be involved in the invective on modernity . So , should we infer that the ancient Mesoamerican civilization is better than the present ? In addition, the eternal becoming hath been interrupted at one point becoming the immediate immobile lousy ? Finally, as the last two skulls far only ten years old , are immersed in the same market ? At the same Manzoni ?
In the conception of J.C. the golden age is the one that he likes . The rest is, meta-historically, perversion. Loving the icons, we wish him to live in Byzantium in agony , without those annoying episodes of the fall of the Eastern Empire all the way up to the French Revolution .
We know that at the end we recognize in Linda Lovelace , star of Deep Throat (1972) and , perhaps , having met JC In those years, we would have yelled " repressed male , masturbated in the toilet ." Of course the example is vulgar and we apologize , but the sexuality of Linda represents modernity , with its places of pleasure moved in the throat ( there by nature, and for the first time talking about the female orgasm , today with the manner decided by the market ) otherwise by the owner "normality" that prevents their moods , Crap , such as the JC's respectability. In our opinion, the lack of the modernity is the opposite of what JC complain . He speaks little , and only in a chic mode, of the stigmata that the market leaves on our bodies . Our moods are floating or sinking in the market , changing or evolving , and their symbolization is in business , not in sacredness. Linda and us, for various reasons, we share the mixing of our perceptions .
The aesthetics of the obscene was not invented by us. Of our stark body has been discussed for millennia , perhaps covering it with the morals of a later age at the time of writing. I wonder if Lust Brueghel (Series of the deadly sins ) in which a serpent's tail surprise check between the bare legs of a woman would have liked to our contemporary moralizing ? Or maybe he would have written an invective against modernity , from Dante to Brueghel ? Canto XXIV Inferno "with the middle feet it gripped the stomach / and with the forward ones his arms it seized ." Who reads the Canto from start to finish, including the violence of heroic's sinner to God, could not enjoy his vulgarity and sublimity.
Courbet's The Origin of the World is our symbol and we are not ashamed at all if it came to the Museum after having lived in at least two bathrooms of wealthy collectors
Bad money drives out good : if there is a foundation of doubt between a real and a fake one, the fake take benefit ( Guttuso in an article that mentions JC about the false). If all contemporary art is a fake, does not mean that everything else is true. Perhaps the opposite. Also, what Jean Clair loves on icons " formal perfection and rigorous iconographic " is what , unfortunately, is the basis of the Market. We noted already elsewhere, such as the fashion ( the difference with the icons is that the paradigms are not expected eternal ) impose languages , styles , visual rules which must be observed not to cause repulsion of the Market. There are rules : they are decided by the market . But " when Raphael painted the School of Athens under the dictation of Vatican theologians and philosophers of the court , he was free ? " ( Guttuso, article cited ) .
It is worth asking whether the criticism of JC is external to the market . At the end of his career , reputation and influence of our own derived from these positions . According to us, simply and cleverly , has occupied a place in the cultural industry , came to such a level of abstraction to overcome the show. To be herself , and even their critics. Valorising both. At the bottom of JC has not been exiled from the great academies such as Baudelaire , simply began publishing in economic series to sell more .
In the words of Manu Chao, maybe JC sees "too much promiscuity ," but does not realize that in the text of the song, however, rightly rhymes with "too much hypocrisy ." icons cry.
And, on the other hand, with his peace, things are just like that.
Jean Clair, as regularly every six months of his and our lives, has again launched on the Republic, a tirade against modernity. Modern art is all condemned, Duchamp, Picasso, Manzoni to Hirst, through Warhol and Koons. Because the market sucks, modernity is dirty, artists throw their secretions on the public: there are no more experts, historians than once. Ah, the icons!
We remember the dear Sainte -Beuve ' when , in 1862 , having avoided in every way to talk about it, pulled by the hair , finally decides to write an article on Baudelaire. And then, according to an article of one of the biggest critics of the time , flattered and considered, MB " Has found a way to build , at the end of a spit of land deemed uninhabitable , beyond any known romance , a newspaper stand very ornate, yet flirty and mysterious .... that for some time attracts attention at the very tip of the KamÇakta romantic , I call it folie Boudelaire . "
Now the Kamċakta has invaded the world , with opium , the trappings , its wonders. The good Clair is building his kiosk , made of good manners and good reads , tasteful and quiet, perhaps in front of a roaring log fire with his full-bodied wine . A quiet place well lighted . The problem is : in the global market , today there is a strip of land that is outside , place of wild icons, coteries of preparations and prudish historians, fine painting with bodies cleaned and angelic ? We do not think so.
Things did not go as he wanted Jean Clair, but for this to be denied ?
We recover and expand an example of Francesco Bonami . Take three skulls : the Mitchell-Hedges Crystal in 1600 BC, the Gabriel Orozco Black Kites (1997) and For the love of God by Damien Hirst (2007) . Surely the first would be the chosen one of JC , the others would be involved in the invective on modernity . So , should we infer that the ancient Mesoamerican civilization is better than the present ? In addition, the eternal becoming hath been interrupted at one point becoming the immediate immobile lousy ? Finally, as the last two skulls far only ten years old , are immersed in the same market ? At the same Manzoni ?
In the conception of J.C. the golden age is the one that he likes . The rest is, meta-historically, perversion. Loving the icons, we wish him to live in Byzantium in agony , without those annoying episodes of the fall of the Eastern Empire all the way up to the French Revolution .
We know that at the end we recognize in Linda Lovelace , star of Deep Throat (1972) and , perhaps , having met JC In those years, we would have yelled " repressed male , masturbated in the toilet ." Of course the example is vulgar and we apologize , but the sexuality of Linda represents modernity , with its places of pleasure moved in the throat ( there by nature, and for the first time talking about the female orgasm , today with the manner decided by the market ) otherwise by the owner "normality" that prevents their moods , Crap , such as the JC's respectability. In our opinion, the lack of the modernity is the opposite of what JC complain . He speaks little , and only in a chic mode, of the stigmata that the market leaves on our bodies . Our moods are floating or sinking in the market , changing or evolving , and their symbolization is in business , not in sacredness. Linda and us, for various reasons, we share the mixing of our perceptions .
The aesthetics of the obscene was not invented by us. Of our stark body has been discussed for millennia , perhaps covering it with the morals of a later age at the time of writing. I wonder if Lust Brueghel (Series of the deadly sins ) in which a serpent's tail surprise check between the bare legs of a woman would have liked to our contemporary moralizing ? Or maybe he would have written an invective against modernity , from Dante to Brueghel ? Canto XXIV Inferno "with the middle feet it gripped the stomach / and with the forward ones his arms it seized ." Who reads the Canto from start to finish, including the violence of heroic's sinner to God, could not enjoy his vulgarity and sublimity.
Courbet's The Origin of the World is our symbol and we are not ashamed at all if it came to the Museum after having lived in at least two bathrooms of wealthy collectors
Bad money drives out good : if there is a foundation of doubt between a real and a fake one, the fake take benefit ( Guttuso in an article that mentions JC about the false). If all contemporary art is a fake, does not mean that everything else is true. Perhaps the opposite. Also, what Jean Clair loves on icons " formal perfection and rigorous iconographic " is what , unfortunately, is the basis of the Market. We noted already elsewhere, such as the fashion ( the difference with the icons is that the paradigms are not expected eternal ) impose languages , styles , visual rules which must be observed not to cause repulsion of the Market. There are rules : they are decided by the market . But " when Raphael painted the School of Athens under the dictation of Vatican theologians and philosophers of the court , he was free ? " ( Guttuso, article cited ) .
It is worth asking whether the criticism of JC is external to the market . At the end of his career , reputation and influence of our own derived from these positions . According to us, simply and cleverly , has occupied a place in the cultural industry , came to such a level of abstraction to overcome the show. To be herself , and even their critics. Valorising both. At the bottom of JC has not been exiled from the great academies such as Baudelaire , simply began publishing in economic series to sell more .
In the words of Manu Chao, maybe JC sees "too much promiscuity ," but does not realize that in the text of the song, however, rightly rhymes with "too much hypocrisy ." icons cry.
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