Melencolia I
An artistic code is nothing but a certain outlook, that is to say: a summing up of disjoining and omission, or the erasure of the perfect Typography of the Other. For that reason the museum’s sphere cannot cope with tangible formation (articulation in which evil vegetates): it lacks the lucidity to decipher the destructive – negative. Which is an enigma, but the forms, bursting out from Germany, systematically lay bare the popular texts. Each of us may hark back to the treasures and values of his culture, but it is sufficiently wellknown that we have had to experience the legacy of the Third Reich. Not that this was the first split in our unity; on the contrary, it is by its moment of origin that we have come to understand that the esssence of the articulated can only be found exclusively in a reading of the accompanying text (not the aftermath, but the foundation), again rising up from a certain leading German post-expressionist art. Therefore, we cannot but point towards a sentimental link with the feverish brain of Luther > Dr > Faust > ergo, where human consciousness deviates from the natural forces because of its limited capacity to activate itself – ergo, the beginning of the secularization of Christianity – hence it is accurate to remark that the Other should be on guard: for when the principles behind the creative act are connected to a contemporary might, it may eventually revert humanity again to a state of upheaval / chaos. Certain German (contemporary) artists are continuing their chants. Is something similar happening with Luther? Can it be that the image of Luther
commands admiration (a tangible form therefore)? We should be aware of the danger of his convictions, for aside from the fact that he introduces the devil, he re-introduces the concept of predestination, eradicating free will in the process, as it were. However – it is and remains our seeking soul versus the apocalypse.
Yours,
Joseph Semah, 1982
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