The question of art and revolution is an old one, reaching back at least to the French Revolution. It’s one that every radical activist has probably thought about (probably inconclusively), and it’s one that has arisen for every actual revolution and for many artists.
The following talk by Alain Badiou was given at the Miguel Abreu Gallery in New York about a year ago (10/13/2010). The following transcript, prepared by Richard James Jermain, is taken from the symptom, where a video of the talk can also be found. Some obvious errors and typos in the transcript have been corrected; unclear words are indicated by a question mark.
So I propose to distinguish an art which is close to the State power, in dependency to state power, and a properly militant art. We shall name the first artistic creation inside the space of the State power an official art; and we must say that to mistake official art for militant art has been the great problem during the last century. In real militant art ideology is the subjective determination not of an apparatus but of a process, a struggle, a resistance.
In a more aesthetic language, we can say that the first (the official art) under the Idea of le grand art, the great art, the high, monumental art of the glorification of the result, under militant art is under the idea of experimental art, of avant-garde, in some sense of this word. So we can clearly distinguish between the two and recognize that from the same subjective conviction two completely different formal orientations can be defined.
But there is also a sort of dialectics between the two. The militant art can be, and is very often a critique of the official art, it’s true; and we know that the official art is very often a critique of the militant art. But the official art uses some new means of the militant art because the militant art is very often of the same ideology. And the militant art is also stimulated by the potency of the official art when the offical art is of the same ideology. The fact that the same ideology is realized in the artistical field in two different forms creates by necessity an historical dialectics betwen the two. There is a sort of exchange between the two, and some great common moments where official art and militant art are something in common.
And so when we have to expose today the question of the possibility of a militant art we cannot immediately expose our thinking in the parameters of the distinction between official art and true militant art. And why? First, there is today no common strong ideology. There is no vision – a global vision – for another possibility of the world as such, for the historical world as such. Naturally, there exists opposition, there exists revolutionary movement, there exist struggles and so on. But it’s clear that we cannot affirm purely and simply the existence of another possibility as such, which was clearly affirmative in the second part of the last century.
Does the Notion of Activist Art still have a Meaning?
Alain Badiou
My question this evening will be “Is it possible to propose a general definition of a militant vision of artistic creation?” The first and simple possibility is to say something like that. A militant vision of artistic creation is when an art – a work of art – is a part of something which is not reducible to an artistic determination. For example stained-glass windows in churches. It’s a symbol of the Light of God, and it’s also a part of artistic creation. Greek temples, which are also something for collective cult; military music, which is something inside the creation of patriotic courage; Egyptian pyramids, which are works of art certainly, but also the old symbolic question of the death of the king, and so on.
In all these cases we have the phenomena of artistic creation, certainly, but which is included in something else which is the ? of something which is outside of artistic determination. We can speak of an official artistic activity much more than a militant one. Finally, it’s the artistic creation in the space of the State, of the power.
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