By Aude de Kerros.
The world saw Notre-Dame de Paris burn live, the reactions were immediate. Examination of their contents reveals a geopolitical phenomenon concerning Art. When in 2001 the whole world saw the Twin Towers collapse, the terrorists shouted victory, but the rest of the world was moved. There were 2,750 deaths but no one wept for the towers, a symbol of American power in the eyes of the world.
In the case of the destruction of Notre-Dame, there were no deaths and causes remain hypothetical, terrorism or negligence of institutions with regard to the great heritage? As for New York, the deploration was not unanimous: the social networks have betrayed satisfactions and shouts of joy not commented by the press, but also titles and declarations coming from the five continents, where one notes that the fire has been lived as a shared test with the French.
Would the Grand'art be a body endowed with a soul?
The content of the messages is unusual. He does not look like condolences. Here misfortune overwhelms them as much as it overwhelms us. What is it? The cathedral, a great work of art in form and content, is designated as a being with an indissolubly linked body and soul. This building is a being, a parent, whom the whole world watches die, experiencing personal suffering and anguish. Is not it mysterious? Would the artwork have a soul pegged to his body?
The phenomenon is surprising because Art, which is subsidized by the State in France and in the rest of the world, is privately, by collectors, major brands and financial groups: Contemporary Art – International – the high-end, meets a definition exactly opposite to that mentioned above. He is not a celebration but a critic, he does not create, he deconstructs, he applies derision to all the civilizational arts and in particular to Western art, considered particularly peculiar. Only a global art, "contemporary" but without identity, could bring peace and international harmony.
The second surprise is that this cathedral is described in the messages as having both a French, European identity and a universal quality … what is it?
So attachment to one's own identity is not an obstacle to the relationship with another just as attached to one's own? Is art more than a commodity, a financial product, a support for ideological propaganda? A positive link beyond political conflicts between different cultures? That is no longer taught in our schools. Is there a distance between reality and ideology mainstream ?
In the space of a few hours throughout the visual tragedy experienced by the whole world, the medieval notion of art, formulated by Saint Thomas and the Abbot Suger after having been by Aristotle, goes back like a shoot in spring. Is it a natural notion that we observe since the Paleolithic?
Art circulates in the world because it is a beauty inhabited by meaning and in that it can be shared despite the difference in conditions and cultures. Between 7 pm and 10 am we have formed a planetary humanity united in front of the spectacle of our common soul, burning in a body of stone. Man recognizes himself anthropologically in the art of the other. More than that, he needs to transcend the difference with the other and the exchange. Without this, it is sterility and death.
This does not prevent contemporary international art, the only one that is said in mainstream media that it exists, is a very good financial product heritage. It is very fluid in the international, discreet, tax free. It has multiple uses and benefits, its annual return is 8% on average, a remarkable thing at a time when interest rates are almost zero or even negative. Thanks to what, beyond all the spontaneous gifts of everyone whose soul requires imperiously to be restored, some great fortunes make substantial donations. It is interesting to note however that the amounts of their donations are not far removed from the highest ratings of their networked artists: a Koons Balloon Dog, published in 5 copies, has a rating of 58 million dollars, a painting from David Hockney, $ 90 million.
The auction arrow
If we look at the phenomenon on the French side we observe something that is condemned by the morality of the ruling elites: the expression of a deep and carnal attachment to this cathedral, forming part of its identity.
The sum collected in 24 hours for a cause that is not materialistic has even shocked, provoked a controversy: how can we find so much money in France for a non-humanitarian cause?
It must undoubtedly be seen as a rare opportunity to express a deep sadness and anger at being constantly humiliated by the permanent installation of ephemeral or permanent works, financed in large part by the taxpayer, in the most prestigious French heritage. . Their stated goal is to ridicule, deconstruct, divert, and so on. Thus, Queen's vagina, anal plug, bunch of tulips, packed Arc de Triomphe, Concorde Grand Wheel promoted artwork, etc.
As soon as millions of euros poured in, the head of state announced that an international competition would be open to architects to create a new arrow. And everything starts again! Everyone knows that this is an exceptional celebrity opportunity, provided you obey the instructions of contemporaneity in art: you must deconstruct, transgress what exists. When Viollet-le-Duc proposed an arrow not identical to the old one long gone, he conceived it Gothic, in the spirit of the place.
Hardly the flames extinguished, the project of denaturation of identity appears, those who protest at the idea of an arrow of contemporary Art are already demonized. In 2000, a project to crown Notre-Dame towers with two iron derricks nearly came to an end …
The Grand'art becomes an anthropological reality during the 15 hours
Our Lady in flames has revealed a deep divide in the way of considering art in the world. New York has disappeared before Paris the time of the fire. One night, the heart of the Grand'art was beating in France … and that even as the 2018 balance sheets of the contemporary art market of 2018 announce America in the lead, after being several years in second place behind China.
The use of art as soft power to strengthen a geopolitical hegemony triumphs today financially, but is disputed on the merits. Too empty, too attached to the principle of derision, without beauty, it can not cross the centuries like a cathedral. The technological revolution allows a free connection between civilizational affinities, free, desired, essential to the life of the arts. Who can prevent the natural phenomenon of pollination?
Art perishes in a closed circuit, lives in an open environment, feeds on difference, borrows without copying and sticking, assimilates, transforms, continues civilizations without betraying them. The uniform and global Single Art is a totalitarian utopia. The current art, outside the financial system, exists to last, even unprofitable, in the continuation of the Art of great civilizations. He was seen, recognized watching the cathedral in flames.