Category Archives: Theory

A Historical Moment: Noam Chomsky vs. Foucault, 1971

In 1971, American linguist/social activist Noam Chomsky squared off against French philosopher Michel Foucault on Dutch television . The program was entitled ‘Human Nature: Justice Vs. Power’ and offered sharp contrasts between the more traditional view of ‘human nature’ and what would become a postmodernist perspective … Chomsky, following a rationalist lineage going back to at least Plato, believes that there is a foundational ‘nature’ and that its positive aspects (love, creativity, recognizing and embracing justice) must be realized, while Foucault remains skeptical of any such notion… for him, the issue is not so much whether ‘justice’ or ‘human nature’ ‘exists,’ but how they have historically (and currently) function in society … in regard to justice, he says (this is not included in the clips): “… the idea of justice in itself is an idea which in effect has been invented and putto work in different types of societies as an instrument of a certain political and economic power or as a weapon against that power…” The point of any political struggle, for Foucault, is to alter the ‘power relations’ in which we all find ourselves …

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Currently reading:
Discipline & Punish: The Birth of the Prison
By: Michel Foucault
Release date: 1995-04-25

Ruminations by Pierre Marilly

I can’t help but to be totally delighted by my brilliant friend Pierrot’s theoretical musings every single time (I definitely won’t fail to bring a notebook for our date on Wednsday!). This one on the title of my series “Vis-à-vis”:

dimanche 1 juin 2008

Tathata / sur Chin-Chin Wu

” Pour désigner la réalité, le bouddhisme dit sunya, le vide ; mais encore mieux : tathata, le fait d’être tel, d’être ainsi, d’être cela ; tat veut dire en sanskrit cela et ferait penser au geste du petit enfant qui désigne une chose du doigt et dit : ta, da, ça ! Une photographie se trouve toujours au bout de ce geste. Elle dit : ça, c’est ça, c’est tel ! [...] La photographie n’est jamais qu’un chant alterné de “voyez”, “vois”, “voici” ; elle pointe du doigt un certain vis-à-vis, et ne peut se sortir de ce pur langage déïctique.”

Barthes, Roland, La chambre claire, Paris, Cahiers du cinéma, Gallimard, 1980, p.15-16

Genitalia Thumbnail
Extrait de la série “Vis-à-vis”, Chin-Chin Wu, 2006-08

Mon amie Chin-Chin Wu est l’auteur d’une série de photographies qu’elle a rebaptisé récemment “Vis-à-vis”. Je m’interrogeais jusqu’à ce matin sur ce nouveau titre sans trouver de réponse particulière. Connaissant le grand soin qu’apporte cette artiste à fonder son propos sur une série de photographies qui rencontre, j’en suis certain, des réactions très variées, je déduis que ce titre fonctionne comme une petite annexe, une note de bas de page. Sans chercher à l’enfermer dans un sens particulier, ce qui serait de mon point de vue réducteur pour la série, le titre “Vis-à-vis” me semble être néanmoins un indice donné par Chin Chin sur les spécificités photographiques de son travail. Car il s’agit bien d’un pur travail photographique ; inscrit dans son histoire, conscient de ses codes, malmenant une tradition picturale, et jouant avec ce que l’outil photographie peut faire de mieux : brouiller les pistes, faire se superposer les grilles d’analyse du spectateur. L’érotique (la pulsion libidinale au centre de l’acte photographique), le pornographique (la tristesse de la chair offerte dans un éclairage uniforme, morcelée, défigurée), le médical (le point de vue clinique sur la femme et son appareil génital) et le politique (la connaissance des femmes de leur sexe, dans une approche féministe) dialoguent pour une fois dans un travail qui n’exclue aucun de ces champs, qui au contraire s’appuie sur la force polysémique de la photographie et s’enrichie par tous les discours qui y cohabitent.

Vis-à-vis, donc, est un terme qui suppose un échange, un dialogue, fait intervenir la notion du spectateur, du regardé-regardant plus précisément. On dit d’une vue qu’elle est sans vis-à-vis pour marquer l’absence d’un regard de l’extérieur vers l’intérieur, mais aussi pour signifier l’impossibilité de notre regard (puisque supposé voyeuriste) à pénétrer chez l’autre. Le vis-à-vis est un pacte silencieux du regard.

Et c’est précisément le regard, plus que le sexe, qui est au centre de cette oeuvre “Vis-à-vis”.

Currently listening :
Beethoven: Complete Sonatas for Pianoforte & Cello
Peter Wispelwey, Paul Komen
Release date: 1993-08-17

Projekt Derniera – Zbrojovka Brno, Czech Republic

OK I finally got the statement for this project and am departing in the beginning/middle of June with my friend Will. The itinerary will be Paris- Nancy (to meet Will) – Prague (for printing and portfolio boxes, several openings) – Brno – Prague – Berlin (to meet Alex, my German publisher for the book project Vis-à-vis, on the female genitalia) – Nancy – Paris. Schedule problems aside, I am really excited:

STATEMENT

Projekt Derniera is the title of a conceptual art project to be realized in the arms factory Zbrojovka Brno. Ten well-known European photographers will be invited to all work in the same space, each realizing their own concept on the site. The Derniera project procedes from the following conceptual thesis:

The world is an aggregate of monologues, dialogues, and scenes. Each of us is an actor playing a role; sometimes better and sometimes worse, we act in different roles. The Zbrojovska Brno factory is a stage on which for almost a century thousands of people played their parts. This stage, however, did not withstand the storms of time: the actors left, the scenery was sold or stolen, but the site with its incontrovertible genius loci remained.

The Derniera Project is the last staged event that will be produced in this space; afterwards, the site will be demolished and completely revitalized.
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The Derniera Project seeks to be the bridge connecting the era that was and the era that will be.

The curator of the Project and the developer investing in the revitalization have concluded that it is impossible to erase, without emotion, the significance of the former industrial site, connected as it is with the fates of a thousand people. Such revision is natural; each way out is an invitation to new retrospection and fresh contemplation.

The documentary value of the project will also be far from negligible, although this is not the project’s priority.

By his support of the project, the redevlopment investor has evinced his sympathetic concern for the fates of the people so closely bound up with this space and the memory of their time there.

The participants in the project are not bound by any conditions except the requirement that each project be realized on the site of the Zrojkova Brno factory.

The opening of the project will be an exhibition of the realized concepts — presumably large-format photographs. An industrial hall from the Zbrojovska site has been chosen as the first exhibition space.

The subsequent exhibitions are also envisioned as being held in untraditional venues — in sites either before or after their revitalization.

The results of the project will be summarized in an illustrated publication.

The results of the project may be used in the investor’s revitilization activities.

Notes toward realization

–Reknowned European artists will be invited to participate
–Leading European photography galleries will cooperate in choosing the participants.
–Participants in the first phase of the project will include, among others: Galerie Vrais Reves in Lyon and Galerie Baudelaire in Antwerp.
–The organizer and technical facilitator will be the Atelier Zidlický
–The curator of the project is Vladimír Židlický.
–The organizers will defray the cost of room and board and cover the costs of production for the participating artists.
–We envision that the individual artists will realize their projects in the course of a 10-14 day residence in Brno, during which time the workspace, supplies, technical facilities and personnel of the Atelier Zidlický will be at their disposal.
–The project will be realized in the summer (June-September) of 2008.
–The participating artists will give one realized work to the project’s sponsor as well as grant reproduction rights — by mutual agreement and to a reasonable extent — for the promotional needs of the project sponsors.

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