Ma parlando di leggerezza, mentre
sotto il nostro ufficio, un rigurgito novecentesco propone una discussione in
libreria su Baudelaire, sicuro pesante, e per non essere noi pesanti, ci sà è
meglio approfittare che oggi c’è il sole. Leggero è chi il leggero fa.
"My working method more often is a subtraction of weight; I have tried to remove weight, sometimes from people, sometimes from heavenly bodies, sometimes from cities; above all I have tried to remove weight from the structure of the narrative and language, "said Calvino in American lessons . And so there comes to mind after reading some texts of important curators, experts (scholars no longer exists, you know weight) of contemporary art.
But why when they do the same, perhaps by introducing a catalog of their shows become "heavy", structured, and when they give their overview of the contemporary feel lighter?
And why our dear philosopher, Agamben, is convincing when as to what the contemporary is, but it turns out if writes about contemporary art?
When he is Writing about a thinker valuable as Sismondi , Marx said , "He judges in a convincing way the contradictions of bourgeois production , but does not understand it ." The contemporary shows , if anything, can be assessed, but you don't investigate it, not understand it . Not because it is incomprehensible , but because it is thrown forward in its objective reality , perhaps, is bound ( a quote does not refuse anyone) but you can not think.
Not only in art, but such policy . Those who do not have better things to do try, as did Alexander Leogrande ( the stranger ) and as we did , to compare two writings that compete with the same thinker nearly 30 years later : Matteo Renzi introduction Right and Left of Bobbio and Bettino Craxi in An Essay on Proudhon (1978). " How it ended the parable craxiana is known to all . But if we were to remain on the only textual aspect ...... well , the comparison is really pitiful . " The difference is not between different levels of quality , but structure and speed , the heaviness and the lightness in the interpretation of decisionism .
Maybe things are deeper . As we are immersed in a joyous or melancholy superficiality, and depth , if anything , appears to be only an interlocking of surfaces. The poor Lukacs , in his bad article, helps us . It takes a learned of his time , Max Weber : economist , sociologist , historian , philosopher and politician. Expert in all , at ease in all fields of art and its history. " And yet there isn't in him, not even the shadow of a true universalism ... because never realized a synthesis of this sociology with this economy and with this history , it was necessary that the separation of these specialist science remained intact even in his head " . How come we are faced with this dissociation ? L. says that the social division of labor not only affects the exploited, but also harnessing . Conditions them , even if their lives are, of course , different .
99 posse says " my head is a hotbed of subversion ." Outbreaks satisfied with uneven move into our brains sprayed from the Market. Could each of us , like say Sir Bradley Wiggins ( a cyclist who won the Tour ) : "I've Always Been a bit of all trades , master of none " ?
Our divided brain also divides languages . Only a language that technically ever more specific , with focused haughtily who reduces its terms, as to become esoteric . Involuntarily arises as understandable to others who speak in the Babel of many microtechniques , incomprehensible to most people. But it 's interesting to be understandable to most people ? Depending on the market . If you want to talk to my equals, then use a language system , if you intend to sell another . From the purity Creole passage is short , millimeters of my brain. The mystery that veils the secret profane its truth , that is the simple life ( Magris ) .
There is some truth in the legend that says that sleeping next to a book, we take their content . We had already written these lines when we happened to read " Heroes and anti-heroes in German art " by Marco Minnini . We quote : " We could say that Feldmann is a mannerist , while Kiefer is the muscular Michelangelo of our times. Medardo Rosso against Rodin. Monsieur Hulot against Schwarzenegger. And of course, an old story : ... David and Goliath . " A text that makes the slight Feldmann collide with the heavy Kiefer . As ever , though, when one of the highest density's works of the heaviness of the hard Anselm , " 7 celestial palaces " , is photographed everything is being done to lighten it ? We thinking the same for a more raw performance that we have seen recently . the video of work could easily be a trailer for a movie with Brad Pitt.
But speaking of lightness , while under our office , a resurgence in the twentieth century offers in library a discussion on Baudelaire , secure heavy, and for us, not to be heavy , it is best to take advantage of today's shining sun .sLight is the slight who does.