Archive for Art
When I first saw Lalor’s red text in the Irish Times I have to admit I did not get it. Nor did I get it when I actually tried to read the red text itself. I was intrigued. Yes. I was impressed by the daring of the author. But I didn’t know what in the world it meant.
But was it meant to mean? And can we really look for an author here? Is Lalor not rather playing the clown, the joker in the pack, what Levi-Strauss calls the bricoleur. Is he not playing the role of anti-author or posthumous author in the sense proposed by Roland Barthes in his landmark essay ‘The Death of the Author’? For Lalor’s red strips of text – might we call them strip-tease texts? – lure and frustrate us at the same time. The scarlet invites us to look, regard, take note, scrutinise, then fades into black. It beckons to the reader only to retreat into an incomprehensible night of tiny illegible writing surrounded by the very legible print of the newspaper itself. The Irish Times meets Scarlet and Black. Madame de Rênal plays hide and seek with Sorel the reader.
The paper seems to bleed, as if sense was hemorrhaging into non-sense. But this only heightens the whole question of what ‘is’ sense in the first place, what makes sense? In what sense should we and do we read newspapers when they are presented to us as ‘news’, ‘reportage’, ‘narratives’, ‘the facts’? All different genres and styles. Yet we normally take them for granted, precisely as given. A quick read over breakfast or lunch, in the bus, train, plane. Writing as information first, connotation second. But there is also a ‘Third Meaning’, as Barthes points out in his essay of that name. And that is the meaning that Lalor is trying to make sense of by making non-sense of it all. A ‘slippery trickster’ who learns from Finnegans Wake and Lewis Carroll that there is a nocturnal unconscious at work in the play of words within words. Or maybe Lalor echoes Yeats’ motto, ‘words alone are certain good’.
Whatever it be, this is ‘writerly’ writing as described by Barthes: ‘writing is the destruction of every voice, of every point of origin….it is that neutral, composite, oblique space where our subject slips away, the negative where all identity is lost, starting with the very identity of the body writing’ (The Death of the Author). This can provoke a certain ludic jouissance, he says, where words become obtuse, impertinent, perverse, impenetrable: a text to be ‘disentangled rather than deciphered’ – ‘run like the thread of a stocking at every point…. But there is nothing beneath: the space of writing is to be ranged over, not pierced; writing ceaselessly posits meaning ceaselessly to evaporate it, carrying out a systematic exemption of meaning. In precisely this way writing…by refusing to assign a ‘secret’, an ultimate meaning, to the text, liberates an activity that is truly revolutionary’. Why? ‘Because to refuse to fix meaning is to refuse God and his hypothases – reason, science, law’. In this sense, we can say that Lalor’s non-sense is irrational, anti-scientific and illegal, in the most revolutionary sense of the term.
Lalor the outlaw, the subversive, the Nietzschean, Dionysian anti-Christ. Celebrant of what certain postmoderns have called an ‘erotics of reading’ (as opposed to a hermeneutics of interpretation). A young artist taking his cue from that other Dublin Parisian, Beckett, when he says, ‘no symbols where none intended’. That’s John Lalor for you. And if you were to take all the little discarded, disseminated red strips together and piece them into a plot or pattern you would not get a Little Red Book (Maoist or Jungian). You would get a higgledy-piggledy pile of little scarlet scatterings without beginning or end. Parody of multiple palimpsests – Joyce, Godard and more – but no single book and no single message. As I look at one (or several ) of Lalor’s text-strips – often placed over comic strips – I cannot but recall Barthes’ provocative description of what he terms the ‘traumatic quality’ of a certain postmodern writing which blocks meaning and belongs to ‘the family of pun, buffoonery, useless expenditure. Indifferent to moral or aesthetic categories (the trivial, the futile, the false, the pastiche), it is on the side of the carnival’. Lalor rivals Magritte’s ‘This is not a Pipe’ with ‘This is not a Text’.
And yet none of this carnivalesque non-sense would mean anything unless it was placed precisely in the context of a national newspaper that serves truth, seriousness, reason and law. That promises to report the facts as they are – in black and white. Not red. To see red is to be mad. To go out of your mind. As I am sure many Irish times readers did as they watched the morning newspaper menstruate into their breakfast tea. Yet many too must have asked: what does this mean? And if they did ask that question the play with non-meaning was worth it – ultimately vindicating the wager the Irish Times took in letting an exiled Dubliner creep back between the sheets of their paper and infiltrate the national body politic with viral veerings of color and word. We should applaud their brave gesture to allow the Trojan horse into the city, come what may.
But there is sense to the non-sense in another way too. When I heard John Lalor tell me that when he was a child he would wonder why his father was more interested in reading the comic strip of the Irish Times than in talking to him, a light went on. The fact that Lalor’s red text ran riot over the Irish Times comic strip was telling. That piece of biography mattered a lot to my appreciation of the work and I regretted that there was not an interview with Lalor printed in the Irish Times to coincide with his experiment. Lalor is a conceptual artist (or anti-artist) after all. So concepts matter, narratives count, his images are, as Deleuze put it, des images pensantes. They are meant to make you think. And there is much thinking to be done about the relationship between the death of the author and its simultaneous rebirth.
In short, I think Lalor the author is ultimately as important as Lalor the post-author. Barthes gets it half right. But only half. The other half is captured by Joyce when he said, ‘It’s a brave man would invent something that never happened’. The Irish Times experiment originated not last year but forty years ago when Lalor the son watched Lalor the father read the Irish Times comic strip when he came home from work. ‘It’s the father and son idea’, as we are told in the opening chapter of Ulysses. Which is perhaps why that is Lalor’s favorite book and why Shane is his favorite movie. The artist is dead, long live the artist.
Richard Kearney holds the Charles B. Seelig Chair of Philosophy at Boston College and has served as a Visiting Professor at University College Dublin, the University of Paris (Sorbonne) and the University of Nice. He was formerly a member of the Arts Council of Ireland, the Higher Education Authority of Ireland and chairman of the Irish School of Film at University College Dublin. As a public intellectual in Ireland, he was involved in drafting a number of proposals for a Northern Irish peace agreement (1983, 1993, 1995). He has presented five series on culture and philosophy for Irish and/or British television and broadcast extensively on the European media. Richard Kearney is international director of the Guestbook Project–Hosting the Stranger: Between Hostility and Hospitality.
The artwork currently unfolding in the pages of the Irish Times is the latest iteration of an artwork which Paris-based artist John Lalor created 4 years ago at the Centre Culturel Irlandais, Paris, in response to a major exhibition at the Pompidou Centre, Voyage(s) en Utopie, Jean-Luc Godard, 1946-2006, A la recherche d’un théorème perdu, celebrating legendary Franco-Swiss filmmaker Jean-Luc Godard.
Installation photos: John Lalor, Red Marker = Video, Centre Culturel Irlandais, Paris, 2006:
Photos Barbara Laborde 2006
John Lalor’s Statement: stereo jlg/the editing of the trailer
Cross hatching and depth of field
So the use of the red alcohol marker being a type of metaphor for video regarding its usage, its history, its very invention, leading eventually to its relationship to cinema. How it would be regarded as a type of impertinent art form, in some way democratic perhaps like bleaching agent with its arrival into every home in the latter part of the 20th century. Then video’s rapidity, its eventual exclusion or omission of laboratory developement. Compared to red marker and its position in relation to pencil/crayon or classical rendering ie. the instant drying of red marker. Imagine drawing classical landscapes with a red marker with its constant emphasis on cross hatching. Would the red marker be compared in some way as comics to literature.
The text on Godard stereo jlg/the editing of the trailer will be rendered in red marker instead of red paint, rendered in 7 columns on three walls taking the aspect of a wall painting, thus addressing the space in its entirety in a three dimensional way. In this case only one thousand words will be rendered giving a glimpse of the text. The corrective editing furnished by the word processor recognises the name Godard but not that of Ken Loach, resulting with a capital letter for the first and not for the latter. This logic will follow through on the wall painting but not on the printed text on paper, the entire text will be found according to the wall plan of the room printed on paper also in 7 columns.
An actor will be asked at a later stage to talk the text out, walking from room to room rather like Belmondo in à bout de souffle, smoking a cigarette, just talking out the text which he will evidently have learned. The event will also be filmed, a camera tracking the actor from behind, the event will be treated as a suprise performance rather than a problem of re-presentation in a classical way. The actor will also be given the choice of learning either the entire text or just his favourite parts once again emphasizing the idea of editing.
In conclusion the text stereo jlg/the editing of the trailer will also make its way into journalism being printed in 7 red columns again and then simply scattered throughout the newspaper, wherever it lands ie. through tragic or joyful headlines, through the sports pages, deaths wherever it lands literally. Rather like the tv series Twin Peaks existing through, news headlines, the various commercial breaks, advertising, etc.
john lalor 2010
“Voyage(s) en Utopie” – a major exhibition designed by Godard – was the result and residue of an initial project “Collage(s) de France”, conceived by the filmmaker with the former director of cultural development at the Pompidou, Dominique Païni. This exhibition was abandoned in 2006 after much public and media controversy. The final exhibition carried the traces of the initial project – an exhibition about a failed exhibition – as attested by the many maquettes, the hand-written sign bearing the name of the unfinished project crossed out forcefully in marker and the official museum disclaimer at the entrance of the exhibition justifying the abandonment of the project for artistic, technical and financial reasons.
The end result was an experimental exhibition at the crossroads of cinema, theory and the visual arts – a plethora of objects, symbols, signs, found texts, films – a veritable construction site presented and laid out according to the various methodologies of collage, montage and juxtaposition constituting a highly personal vision and theory of cinema – a gigantic puzzle. Museum audiences, usually presented with paths and pre-digested accounts, had to rely on nothing but their intuition to guide them.
Lalor’s text grew out of his encounter with and response to Godard’s exhibition. It flows along, unpunctuated, personal and authentic – walking in his mind, sketching things out, a flâneur amidst his own thoughts and ideas.
The latest version of the artwork ‘Stereo JLG’ – currently published in the Irish Times – constitutes an exploration of ‘Journalism’ –one of the 4 modalities the artwork investigates, as outlined in Lalor’s statement above.
The next episode of Stereo JLG / the editing of the trailer will appear in the 24th April issue of the Irish Times.
photos © Renato Ghiazza 2010
Stereo JLG / the editing of the trailer is a text- based artwork by Irish artist John Lalor, which is currently emerging within the pages of the Irish Times. Characterised by black text on a red ground, the work is arranged in 7 episodes. The pilot and the first episode appeared among the World News pages on 8th March, on the Bulletin page on 13th, another on the 27th March, with forthcoming episodes scheduled for the 10th and 24th April issues. The concluding episode will co–incide with an event at the Oonagh Young Gallery, Dublin on 6th May.
This is the latest iteration of a piece which the artist created 4 years ago, in response to a major exhibition at the Pompidou Centre, Paris, “Voyage(s) en Utopie, Jean-Luc Godard, 1946-2006. A la recherche d’un théorème perdu”, celebrating legendary Franco-Swiss filmmaker Jean- Luc Godard, where Godard in true fashion subverted the museum’s curatorial machine to render an event which itself defied any pre-digestion for its audience. Lalor’s text grew out of that encounter, and flows along, unpunctuated, personal and authentic, a spinning wheel of images and ideas.
Working within the organisational system of the Irish Times, its language, format, house style – the siting of each episode depends on the sub-editor’s layout decisions. Modest in scale, it fits in and presents as a piece that can change itself and items around it. It is quietly radical. It re-shapes the landscape of the newspaper as it passes through.
John Lalor attended Limerick School of Art, Ireland. He lives and works in Paris since 1988 and has exhibited widely in both countries, most recently in Pallas Contemporary Projects, Dublin; Centre Culturel Irlandais, Paris; Temple Bar Gallery, Dublin; and Glassbox, Paris, along with film-screenings at SUB:URBAN, Rotterdam, La Fémis cinema in the context of ‘Pointligneplan’, Paris, Centre international d’art & du paysage, île de Vassivière; and Temporarycontemporary, London. He was an active member and director of Glassbox, a pioneering artists-run space from 2004-07 in Paris. John Lalor is currently working on the publication of a collection of his writings in English and French, entitled ‘Found in translation’, as well as as film project entitled ‘Un incident urbain’ (An urban incident) around French architect Dominique Perrault’s BNF building (the French National Library) and Marin Karmitz’ nearby MK2 independent cinema, featuring actor Jean-François Stévenin and André S. Labarthe (actor, critic, film producer and director).
John Lalor and C/K Projects
Next episode will appear tomorrow in The Irish Times.