OUT OF THE BLUE: A sense of public-mindedness at National Gallery of Kosovo In 1897, Stéphane Mallarmé (1842–1898) published the essay “Limited Action” (“L’Action restreinte”) in Divagations, where he describes the limits and the concentration of poetic action, no longer claiming to operate directly in the political arena or even to set himself up as a moral conscience. He could talk about the world, give it a verbal equivalent, but he could not change it. His activity, however, is far from contemplative. He carries out an action in a “restricted” but boundless realm which does not belong to him but which he can re-evaluate and even redefine. This is the realm of language and languages. Art historian and art critic Jean-François Chevrier, curator of the seminal exhibition and book L’Action restreinte. L’art moderne selon Mallarmé (2), argues that the effects of Mallarméan poetics cannot be reduced to the myth or the legend of a poet in search of the absolute, even if this image benefits from a long tradition invented by the 19th century in the flush of the first Romanticism. The effect of this poetics depends above all on its extraordinary openness, of which modernist theory represents only a limited interpretation. The force of Mallarmé’s poetics has been to reveal, after the great Romantic explosion, a tension between the idea and actuality. This tension is only partially reflected in the opposition between the ideal and the daily. Mallarméan actuality is a criticism of the daily and of the présence à soi. e-flux/announcements/the-10th-edition-of-the-international-exhibition-muslim-mulliqi/
Posted on: Wed, 13 Aug 2014 18:00:00 +0000
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