Aisthesis. Jacques Ranciere
Читать онлайн книгу.
example, the idealities of plot, form and painting for those of movement, light and the gaze, building its own domain by blurring the specificities that define the arts and the boundaries that separate them from the prosaic world.
Art is given to us through these transformations of the sensible fabric, at the cost of constantly merging its own reasons with those belonging to other spheres of experience. I have chosen to study these transformations in a certain number of specific scenes. In this sense, a distant model guides Aisthesis. Its title echoes Erich Auerbach’s Mimesis, which focused on a series of short extracts, from Homer to Virginia Woolf, to study the transformations in the representation of reality in western literature. Mimesis and Aisthesis undoubtedly take on different meanings here, since they no longer designate categories internal to art, but rather regimes of the identification of art. My scenes are not only taken from the art of writing, but also from the visual and performance arts, and those of mechanical reproduction. They do not show the transformations belonging to any given art. Instead, they show the way in which a given artistic appearance requires changes in the paradigms of art. Each one of these scenes thus presents a singular event, and explores the interpretive network that gives it meaning around an emblematic text. The event can be a performance, a lecture, an exhibition, a visit to a museum or to a studio, a book, or a film release. The network built around it shows how a performance or an object is felt and thought not only as art, but also as a singular artistic proposition and a source of artistic emotion, as novelty and revolution in art – even as a means for art to find a way out of itself. Thus it inscribes them into a moving constellation in which modes of perception and affect, and forms of interpretation defining a paradigm of art, take shape. The scene is not the illustration of an idea. It is a little optical machine that shows us thought busy weaving together perceptions, affects, names and ideas, constituting the sensible community that these links create, and the intellectual community that makes such weaving thinkable. The scene captures concepts at work, in their relation to the new objects they seek to appropriate, old objects that they try to reconsider, and the patterns they build or transform to this end. For thinking is always firstly thinking the thinkable – a thinking that modifies what is thinkable by welcoming what was unthinkable. The scenes of thought collected here show how a mutilated statue can become a perfect work, an image of lousy children the representation of the Ideal, somersaulting clowns a flight in the poetic sky, a piece of furniture a temple, a staircase a character, patched overalls a princely garb, the convolutions of a veil a cosmogony, and an accelerated montage of gestures the sensible reality of communism. These metamorphoses are not individual fantasies but the logic of the regime of perception, affection and thought that I have proposed to call the ‘aesthetic regime of art.’
The fourteen episodes that follow are so many microcosms in which we see the logic of this regime being formed, transformed, incorporating unexplored territories and forming new patterns in order to do so. Their selection might give rise to some surprise; the reader will seek in vain for landmarks that have become unavoidable in the history of artistic modernity: no Olympia, no Suprematist Composition: White on White, no Fountain, nor Igitur or The Painter of Modern Life. Instead there are reviews of Funambules and the Folies Bergère written by poets who have fallen into the purgatory of literary anthologies, talks by thinkers or critics who have fallen from grace, sketchbooks for stagings rarely performed … There are surely reasons for this choice, even if, like all good reasons, they are discovered belatedly. Influential histories and philosophies of artistic modernity identify it with the conquest of autonomy by each art, which is expressed in exemplary works that break with the course of history, separating themselves both from the art of the past and the ‘aesthetic’ forms of prosaic life. Fifteen years of work have brought me to the exact opposite conclusions: the movement belonging to the aesthetic regime, which supported the dream of artistic novelty and fusion between art and life subsumed under the idea of modernity, tends to erase the specificities of the arts and to blur the boundaries that separate them from each other and from ordinary experience. These works only create ruptures by condensing features of regimes of perception and thought that precede them, and are formed elsewhere. The degrees of importance retrospectively granted to artistic events erase the genealogy of forms of perception and thought that were able to make them events in the first place. The scenographic revolutions of the twentieth century are difficult to understand without mentioning the evenings spent at the Funambules or the Folies Bergère by poets that no one reads any more: Théophile Gautier and Théodore de Banville. One would be hard pressed to perceive the paradoxical ‘spirituality’ of functionalist architecture without referring to Ruskin’s ‘gothic’ reveries – or even write a somewhat precise history of the modernist paradigm while forgetting that Loïe Fuller and Charlie Chaplin contributed to it far more than Mondrian or Kandinsky, or that the legacy of Whitman is as influential as that of Mallarmé.
One could thus consider these episodes, if so inclined, as a counter-history of ‘artistic modernity’. However, this book has no encyclopaedic goals. It is not concerned with surveying the field of the arts during two centuries, but only aims to capture the occurrences of certain displacements in the perception of what art signifies. It does follow chronological order from 1764 to 1941. Its point of departure is the historical moment, in Winckelmann’s Germany, when Art begins to be named as such, not by closing itself off in some celestial autonomy, but on the contrary by giving itself a new subject, the people, and a new place, history. It follows a few adventures of the relations between these terms. But it has not linked these adventures together; instead it develops a number of overlapping points and elaborations. Nor has it sought to lead them towards some apotheosis or end point. It could surely have come closer to our present. It could also include other episodes, and perhaps it will some day. For now, it seemed possible to me to end it at a significant crossroads: a time when, in James Agee’s America, the modernist dream of art, capable of lending its infinite resonance to the most minute instant of the most ordinary life, was shedding its last light, the brightest yet, while this very era had just been declared over by the young Marxist critic Clement Greenberg and the monument of retrospective modernism was raised. Failing to found any important art, the latter would however succeed in imposing the golden legend of the avant-gardes and rewrite the history of a century of artistic upheavals to its advantage.
This book is thus both finished and incomplete. It is open to future development, but also allows for the construction of different narratives, which could link these isolated episodes together. By following the path that leads from the Belvedere Torso, the expression of a free people, to sharecroppers’ barracks in Alabama, stopping by Murillo’s beggar boys, the oil lamps of the Funambules, the urban wanderings of a hungry vagrant, or the nomads filmed by the Kinocs on the frontiers of Soviet Asia, readers will be able to recognize so many short voyages to the land of the people, to which I have devoted another book.1 From the mutilated Belvedere statue to the broken china rabbit belonging to the sharecropper’s daughter, via the distorted bodies of the Hanlon Lees brothers, Loïe Fuller’s unlocatable body, Rodin’s limbs without bodies and bodies without limbs, and the extreme fragmentation of gestures assembled by Dziga Vertov, they will be able to construct the history of a regime of art like that of a large fragmented body, and of a multiplicity of unknown bodies born from this very fragmentation. They can also follow the multiple metamorphoses of the ancient that the modern feeds upon: how the Olympian gods transform into children of the people, the antique temple into a piece of salon furniture, or into a practicable theatre prop, the painting of a Greek vase becoming a dance celebrating American nature – and still more metamorphoses.
Among these stories, one always imposed itself with greater insistence as the book progressed: the history of the paradoxical links between the aesthetic paradigm and political community. By making the mutilated statue of Hercules the highest expression of the liberty of the Greek people, Winckelmann established an original link between political freedom, the withdrawal of action, and defection from the communitarian body. The aesthetic paradigm was constructed against the representative order, which defined discourse as a body with well-articulated parts, the poem as a plot, and a plot as an order of actions. This order clearly situated the poem – and the artistic productions for which it functioned as a norm – on a hierarchical model: a well-ordered body where the upper part commands the lower, the privilege of action, that is to say of the free man, capable of acting according to ends, over the