[D-G] urban questions of sculptures and landscape outside politics

[John Young]

"1968" has scleroticized 1968, stultified 
remembrance of the year's diverse sand grains 
into an unpassable kidney stone, like "1492" and 
"1945" and "Holocaust" oyster-pearl genocide.

At 08:03 AM 6/20/2020, you wrote:
>Thank You for your answer which brings us about 
>how you live the new red sculptures. I do not 
>expect Society and even collectivities such as 
>Museums and Commissions to set their influence 
>upon the Art as executed by artists, yet this is 
>precisely what happens since the neolithic dawn 
>of art to escape from this situation, there was 
>the invention wherein comes the sense of an 
>"avant-garde" and of "manifes_toes" which 
>existed mainly at the end of the 19th century 
>and in early 20th century. until stopped 
>"oulipo" and "fluxus" then it all stopped, there 
>was May68 (with the exception of some fields in 
>music somewhat, strange attractors fuzzy clouds 
>like LSD Hippie, New Wave, Jazz-Punk etc) May-be 
>the artists have at this point lost all sense of 
>independence from others. May-Be that the 
>Vision, in art, has been absorbed so much within 
>the Audience, within the Public. because there 
>ain't no more aesthetical subjectivity like 
>there was before; and the POP message has taken 
>over everything in Art since 1968, and the 
>isolated artist feels the Shame of her own 
>aesthetical independency! ( i have my self lived 
>this tremendously during my artistic studies in 
>La Cambre ) and that there remains only a huge 
>Crowd and its divided, but Molar, opinions . ( a 
>bit like Alexis de Toqueville explained in 
>_Democracy in America_ with the equalization of 
>Taste and the Vanishing of the aristocratic 
>taste, also feared by F.Nietzsche, a prophecy 
>now fully realized  ) there remains only a Shame 
>to "do Monument" of one's independency from this 
>crowd and their opinions. my idea was to 
>constitute some "manifesto " or rather a simple 
>zen "stimulus" set of reflexions for the other 
>artists and for those others responsible of the 
>life of our aesthetics, in our Towns. ( a 
>manifesto which would go against the grain of 
>the huge Crowd, against the 1977 Dialogue, 
>shrugging your shoulder to the Deleuzian credo 
>that "avant-gardes" have always had "paranoids" 
>influences by their Popes. How does he dare our 
>1968 Parisian thinker talk like Bob Dylan " I 
>have Multitudes in me " if its to equalize every 
>taste and destroy independency of Thoughts from 
>all future artists? Shame on the Deleuze words, 
>shame instead on this credo !  ) This is what I 
>think as Dewey Dell 5, you might disagree with 
>me and you may have the right to do so. best, 
>Dewey Dell On Sat, Jun 20, 2020 at 1:05 PM Dewey 
>Dell <dewey.dell5 at gmail.com> wrote: > merci pour 
>ta réponse qui m’apprend comment se vivent 
>par toi les > sculptures rouges. > > je ne 
>m’attends pas à ce que la société et même 
>les musées les commissions > influencent sur 
>l’art des artistes mais c’est pourtant le 
>cas de tout temps > > pour y échapper c’est 
>justement le sens des « avant-gardes » et « > 
>manifestes » qu’il y avait fin xix ème et 
>début xxème jusqu’a oulipo et > fluxus puis 
>ça s’est arrêté, après mai 68, sauf en 
>musique plus ou > moins..peut-être que les 
>artistes ont a ce point perdu tout sens > 
>d’indépendance peut être que la vision de 
>l’art est tellement passée Dans > Le Public, 
>car il n’y a plus de subjectivité esthétique 
>comme avant, > puisque le message POP a pris 
>tout, et que l’artiste isolé a honte de son > 
>indépendance esthétique ( j’ai fortement 
>vécu ce passage à La Cambre ) et > qu’il 
>n’y a plus qu’une foule d’avis et qu’on 
>a honte de faire monument de > son indépendance 
>par rapport à cette foule d’avis. > > mon 
>idée était de constituer quelque « stimulus 
>» de réflexion pour > d’autres artistes et 
>responsables de la vie esthétique de nos 
>villes. > > > > > 
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