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Funny museums

Hazards the web (Internet) make me see the 1964 film by Jean Luc Godard's "Bande a part" and this passage amusing and prophetic where the heroes blithely visit the Louvre Museum in power to try to beat the record time Visit holds that an American ... This funny story has taken all its dramatic meaning from text and reminded me of my unpublished books of 1986 on what became inexorably museums at the age of mass consumption. This mass consumerism and hedonism compulsory and child was, remember, for the visionary Pier Paolo Pasolini the new form of fascism, namely barbarism spectacular industrial market, which destroyed the "vision" - includes inner vision - to replace it with television and its avatars, a global system where all, People, things and places are for sale, a system that has destroyed the lives industrially to reduce it to appearances, to waste, destroying art, poetry, culture and beauty, the landscapes, bodies and faces, the graces of life, for reduced to entertainment, to goods masks to consume. What shall we do with our lives? The battle between hieros porn and will engage in each and everyone will be judged, not by God but by his own life.

MUSEUM TO WATCH

This shows that above all he is now the Museum, the Museum! It is a paradox, even a structural defect: the higher the Museum collects works, the more it displays its collections and its culture, the more visitors flocking over power broke out of the museum visitor and less likely to meet a work, one in person! It well: as the crowd hiding the individual, the Museum comes to hide the works he is supposed to show.

But this paradox is inscribed into the very idea of requiring Museum keep in one place the largest possible number of works of art to expose them all together, to enjoy and more importantly, to juxtapose them chronologically, grouped thematically, compare, classify, evaluate ... Thus, the Museum provides a comparison of major works minor works, to compare eras, styles, manners, schools, developments, influences ... At the founding desire to be in one place a vast historical panorama of the largest possible number of works of art, the Museum has added another: to provide the greatest possible number of people this panorama art to cultivate.

Now it is true that art has nothing to do with art history, nor with such a panorama because art has nothing to do with culture as well understood.

Real artists, the greatest as the most humble, famous as the anonymous, did not mind when they make a work of feeding the historical panorama of art or expand the museum collections, or grow the population, let alone entertain the masses. This

have always wanted the real artists, since they were free to want is to answer a craving that is rightly called a vocation, that is, said an inner voice that pushes them to live against all odds, and unique personal experience that leads them to perform and express a work in what they feel in them. In creating such works of the artists allow themselves to create by themselves and are thus loyal to the creative life that lives in them and they listened in spite of the world and all its stories. Because life wants to live and wants to be experienced more intensely by us, she wants to be proven, known and recognized for what it is precisely the desire, the immense desire that wants to grow and propagate to infinity in in all human lives.
The aim of the artwork is the same as all human activities: be necessary to life, to his revelation in his performance to its increase. And it provided the living artists or artists looking statements, are faithful to the principle that the creator wants, and receive this life, desire, desire to live, always want to enjoy life more intensely to the point of desiring to know and live eternally miracle of life that gives them free.

seen The Last Judgement by Roger de la Pasture, Beaune, France

A work of art is always so and the work of a living life rather than a particular period of history, as no time has ever created a work of art or anything because the story or the time are just ideas, abstractions lifeless shadow of the life lived, construction afterwards, imaginary and dead, then lost in time, itself a shadow of the eternal principle of the perpetual present living, in which the work of art such as love wants us to.

text extracted from my unpublished books 1986