Possunt, nec posse
D. Diderot, Lettre sur les
L'image devient une écriture
dès l'instant qu'elle est significative : comme l'écriture, elle appelle une
R. Barthes, Le mythe, aujourd’hui
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. And this proceeds from translation. In this sense,
translation is the 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
What befall visual signs when they are told?
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 than similar.
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
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, unless ‘feel free to
touch’ is indicted.
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 coexistent suffering.
will be documented by the performance crew and will be used in another
exhibition devoted to the sightless together with other works Barbad Golshiri
has made for them.