0826473199_Virilio_Fear

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A Pitiless Art saluting from afar the abomination of the desolation of modern times with their cardboard cut-out dictator that keeps popping up, whether it be Hitler or the 'Futurist', Mussolini, Stalin or Mao Zedong. And so the emblematic figure emerges not so much of Marcel Duchamp as Charlie Chaplin or Bonnard, pitiful painter par excellence, as was Claude Monet, that miracle-worker of a Rising Sun, which is not quite the same as the one rising over the laboratories of LOS ALAMOS. The new German painting, naturally, represents current sensibility in Germany and it really frightens me. The Ancients invented and represented the world of witches, but the world of Hate is a modern invention, the invention of Germany, spread out over the canvas. The demons of gothic pictures are child's play when it comes to the human, or, rather, inhuman, heads of a humanity bent on destruction. Furious, murderous, demoniacal heads not in the style of the old masters but in completely modern manner: scientific, choking with poison gas. They would like to carve the Germans of tomorrow out of fresh meat ... So wrote the great art dealer, Rene Gimpel, in his diary of 1925.6 Gimpel was to disappear in the NEUENGAMME camp twenty years later on New 33
Art and <strong>Fear</strong> Year's Day, 1945 ... Thoroughly convinced of the lethal character of the works of Oskar Kokoschka, Emil Nolde or the sculptor, Lehmbruck, Gimpel goes on to tell us that there never has been any such thing as old-master art or modern or contemporary art, but that the 'old master' shaped us, whereas the 'contemporary' artist shapes the perception of the next generation, to the point where no one is 'ahead of their time for they are their time, each and every day'. How can we not subscribe to this statement of the bleeding obvious if we compare the fifteenth-century PIETA OF AVIGNON with the sixteenth-century lssenheim Altarpiece of Matthis Grunewald both pitiful works the 'expressionism' of the German master of the polyptych illustrating the atrocity of the battles and epidetnics of his time in the manner of Jerome Bosch Today we could apply this obseration about lack of anticipation to 'issues' such as the 'contaminated blood affair' in France and the (alleged) nonculpability of the politicians in charge at the time ... Without harking back to Jacques Callot or even Francisco de Goya and 'the miseries of war' of the Napoleonic era, we might remember what Picasso said when a German interrogated him in 1937 about his masterwork, GUERNICA:
Page 2 and 3: Art and Fear PAUL VIRILIO Translate
Page 4: Contents Translator's preface VII A
Page 7 and 8: Art and Fear and the human figure w
Page 10 and 11: Art and Fear: an introduction Paul
Page 12 and 13: Introduction Virilio is indebted to
Page 14 and 15: Introduction its espousal of terror
Page 16 and 17: Introduction just obliterating demo
Page 18 and 19: Introduction the Canadian media mys
Page 20 and 21: Introduction of eugenics without fr
Page 22 and 23: Introduction of a biologically cont
Page 24 and 25: Introduction necessitating an alter
Page 26 and 27: Introduction declares Virilio, is n
Page 28 and 29: Introduction art and film, politics
Page 30 and 31: Introduction temporary art has aban
Page 32 and 33: Introduction humanism and lack of r
Page 34: A Pitiless Art
Page 37 and 38: Art and Fear When I visited the Mus
Page 39 and 40: Art and Fear thirty years later thi
Page 41: Art and Fear A year later, in 1953,
Page 45 and 46: Art and Fear Today, with excess hea
Page 47 and 48: Art and Fear goes hand in glove wit
Page 49 and 50: Art and Fear trying to outdo mere R
Page 51 and 52: Art and Fear Koch, the blonde roman
Page 53 and 54: Art and Fear By way of illustrating
Page 55 and 56: Art and Fear longer involves the do
Page 57 and 58: Art and Fear spmt them away behind
Page 59 and 60: Art and Fear or ethic demonstration
Page 61 and 62: Art and Fear once more become the '
Page 63 and 64: Art and Fear Anthropology, Human Ge
Page 65 and 66: Art and Fear You don't make literat
Page 67 and 68: Art and Fear see what comes next, l
Page 69 and 70: Art and Fear The dazzle of success
Page 71 and 72: Art and Fear substances by top-leve
Page 73 and 74: Art and fear not have survived ...
Page 76: Silence on Trial
Page 79 and 80: Art and Fear Beuys' London installa
Page 81 and 82: Art and Fear as they do the monumen
Page 83 and 84: Art and rear SILENCE WAS PUT ON TRI
Page 85 and 86: Art and Fear sound-track amply make
Page 87 and 88: Art and Fear CONCEPTUAL ART without
Page 89 and 90: Art and Fear Wagner on Kandinsky in
Page 91 and 92: Art and }tear ... Though it is true
Page 93 and 94:
Art and Fear 'Cinema disturbs one's
Page 95 and 96:
Art and Fear after all, declared, '
Page 97 and 98:
Art and Fear Gert, the actress who
Page 99 and 100:
Art and Fear attention, we sum up t
Page 101 and 102:
Art and Fear denunciatory telesurve
Page 103 and 104:
Art and Fear Silence suddenly stops
Page 105 and 106:
Art and Fear with the replacement o
Page 107 and 108:
Notes 3. Ibid. 4. Theodor Adorno, '
Page 109 and 110:
Notes 13. As for the curious name g
Page 111 and 112:
Notes 3. Patrick Vauday, 'Y a-t-il
Page 114 and 115:
Bibliography Adorno, T. (1967), 'Cu
Page 116:
Bibliography Virilio, P. (1991), Th
Page 119 and 120:
Index Bosch, Jerome 34 and the 'fou
Page 121 and 122:
Index Jarre, Jean Michel 72 see als
Page 123 and 124:
Index Schlegel, August Wilhelm 82 o
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0826473199_Virilio_Fear

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