A Performance With the
Blind and Those Who See
Sound recorded by Blandine
A conversation between the
curaors of the exhibition 'aperçu
avant impressions', a public of 80
people and three blind people.
a collective of ten curaotrs, tries to read the
sculptures of Didier Marcel and images of Loïc Raguénès
to the blind. They all use microphones and megaphones.
The problematics of semiological signification lead the
readings to a polylogue.
Possunt, nec posse
D. Diderot, Lettre
sur les aveugles
L'image devient une écriture dès l'instant qu'elle est
significative : comme l'écriture, elle appelle une lexis.
Barthes, Le mythe,
To interpret visual and pictorial signs, is to read them in
linguistic signs. For these to mean any significant unit or
synthesis; to make sense, is to be verbalized. Translation,
In this sense,
interpretation of units of a source text in visual signs and
the production of the target text in linguistic signs. Semiologically speaking, the two messages cannot be
identical for logically sense and reference are neither
identical nor essentially and naturally connected.
If we take art’s poïesis either as Anschauung or Vorstellung –
needless to say there is nothing mystical about ‘intuition’,
and ‘representation’ here embraces all narratives of art
production - any art production has surpluses and losses.
Here figuration is no different than postfiguration, for
having losses and surpluses are inevitable when we speak of
a visual work of art; when we signify visual signs.
Having losses, surpluses and alterations, we do not
reproduce works of art when we read them. Any told piece
of art can be as independent as any untold, that is
to say, given the essential differences in medium, syntax,
system of signs, the told and untold are more dissimilar
Instead of having to-be-perceived, passive but hunger works
of art, we call for accumulations of lexis. The sightless
are not invited to the performance to perceive through the
sighted, on the contrary, they will take part to enrich our
experience of a transitory Aplasticism,
and furthermore, to co-utter the told to reinforce
the collision of words.
In the other hand, they may reveal the ruse of modern visual
percept; we have taught that the pleasure of observing
sculptures lies beneath our desire to embrace objects, but
since works of art are still sacred untouchable mundane
objects held in art museums, we shall keep our distance with
them - if ‘feel free to touch’ is not indicated.
Hence it should be obvious that this is not an assistance
programme, and if there will be assistance, it will be for
the sighted, for those who while narrating the seen, do not
unlearn the conventions of translation and who write in
praise of jouissance of the looked in oblivion of its