Page 29 - Studio International - March 1973

give cause for reflection to the contributors, today where one can say anything one likes. the famous French revolutionary tradition,
especially in the light of all the events described To say anything one likes is to work for the spectacularly (and fundamentally) reborn in the
above (which are not the only ones of their dominant ideology. We believe that in this uprising of May 1968. Actually that period
kind); and to give cause for reflection even to respect the situation in France is a clear marked, in cultural fields other than plastic arts,
those whose survival tactics consist of bargaining indication that the establishment is aware of the a turning point; the doers lost their say in the
and compromise. tactical importance of art in terms of a policy of matter and anything that was not a demonstration
It is apparent that artistic activity in France ideological turning-to-account, in terms of a of original thinking found itself without a thought
is diverse if not very diverting. policy of façade and position holding (political at all because there was no longer any use for ideas
First we should set apart those artists who, activity at the highest level as after-sales service that were merely second-hand. It did not all come
individually or not, have constantly reacted and of the dominant ideology). about in a day; it was a matter of uncovering
demonstrated against a particularly dangerous For some time the French Government has what was already there.
and repugnant situation. The Front des pursued a policy of aggression in the cultural Naturally certain pressure groups (certainly
Artistes Plasticiens (FAP) which came into sphere, particularly in the plastic arts, not thinking groups) have asserted themselves
being at the end of 1971 should also be aggressiveness in the language of merchandising, and maintained their positions without
mentioned. This movement has dedicated and that of police activities. The object is to put exercising self-discipline and despite their
itself to political struggle, chiefly against the France back in the front rank and to give all the ineffectuality, but their sole strength lies in the
economic and policy decisions of the political necessary lustre to the future museum of the fact that they are the hangers-on of (intellectual)
administration in matters of art. It is a Plateau Beaubourg in Paris. power. The Tel Quel group is a case in point as
remarkable fact that the FAP does not represent But as a first step, it is a good idea to show from May 1968 on. They won a meagre victory
any school or aesthetic movement. Its action is that France is still the home of the arts. which they do not know what to do with since
proving really effective despite all obstacles. However, certain mistakes are being made. they are in every respect living in the wrong
For the organization of an exhibition intended . French art and the artists grouped together century and their power is no more than a myth.
to be a reflection of the country, it would surely under the banner School of Paris made a bad But art, because it has remained unchallenged,
be best to turn to individuals and groups like impression on the international art community. has become the only field of activity where the
these. But the ICA exhibition is an example of Out of pure chauvinism the French art world absence of ideas can still lead to success. To such
how it is considered preferable not to tempt fate, asserted itself, setting itself up as the sole a degree that the out-of-work perpetrators of
and to choose the other reflection of things as they criterion in everything. false ideas in other cultural fields have flung
are : conniving insignificance and totalitarian In the current attempt to hoist themselves themselves at art, the only remaining refuge for
place-seeking. anew to a position from where they can their vacuity.
Among institutions, critics, dealers, artists, challenge the other western countries the same The most serious factor is that since 1968
there is a continual out-bidding by the mistakes are repeated; the situation is even these nonentities who pose as 'ideas men' in art,
mediocre. Mediocrity is what emerged as the worse. It is not only French art, with flags have become political nonentities. On top of the
main concern of the President of the Republic flying, that they are attempting to impose myth of art in its continuing unchallenged
in an interview granted to the newspaper wholesale and by force; it is a representation position has been superimposed the myth of
Le Monde on 17 October 1972, which was a which stinks of its own representative political art, foreshadowing accession to the
statement of his ideas on art and architecture. criteria: to wit, good conduct and good myth of power.
Mediocrity and how to avoid it (in other words, relations with the political powers that be. The political administration, in search of a
how to preserve it). He knows who he is dealing 2. Not mentioned in the current promotion liberal veneer, have no doubt not revealed this
with. And their vituperative position-seeking drive, but in fact the principal driving force, is trend. But they know it could be in their
does not displease him. It gives an impression of that this supposed revival in French art is interest to look benignly on this artistic
liveliness and at least one can be sure that there shamelessly taking advantage of the new lease of fermentation. They have often gone about it in a
is no danger in it. How to seize power in the art life resulting from the events of May 1968. maladroit fashion, but even the toughest among
world, this is the constant preoccupation. The artists in power, or those whose aim is to the ambitious ones have ended up by playing the
Art is possibly the only cultural territory make it to the top, paradoxically benefit from establishment game. This was, finally, the only
way for them to give a direction to the power
that they had won by going through the motions
of working for revolution. So they combine with
the myth of their own power, their existence
even, the evident reality of the affinity of
interests between their own ambition and that of
the political administration they serve. To
maintain their position is their only concern.
Those who had not yet revealed themselves,
were no doubt encouraged to do so by the
paternal reassurances handed out to them by the
President of the Republic in his interview in
Le Monde, 17 October 1972: `. . (art) in
varying degrees is to be found everywhere — in
The
an old farm as well as at Trianon
important thing is to believe in it. As for talk of a
political line, believe me, there is no ulterior
motive of any kind in my mind, in the sense
currently applied to the word "political" . . . It
seemed to me that not only had France
remained the chosen land and place of work for
a great many artists of all nationalities, but that
there was evidence of a French revival in recent