L’art comme parallélisme entre la finitude et les limites
Nous regardons les lignes dessinées sur les parois de la grotte de Chauvet et nous ressentons une proximité qui semble dépasser les limites du temps. Ce qui nous touche dans ces dessins c’est la relation entre simplification et expression : avec peu de moyens nous percevons une dynamique bien réelle. Cette relation est fondée sur l’étrange parallélisme entre les limites techniques et la finitude de l’être humain qui trouvent, l’une dans l’autre, un écho problématique.
We look at the lines drawn on the walls of the Chauvet cave and feel a closeness that seems to go beyond the limits of time. What touches us in these drawings is the relationship between simplification and expression: with few means we perceive a very real dynamic. This relationship is based on the strange parallelism between the technical limits and the finiteness of the human being, which find, one in the other, a problematic echo.
This finitude is not only mortality but also the inadequacy of the human organism, whose perceptive capacities are limited and which oblige us to develop a cognitive apparatus that, starting from this challenge of science, synthesizes, simplifies, generalizes. Perceptive finitude is the condition of possibility of neurological development and of the singular relationship of the human being to the so-called « real ». The transformation of the world begins with the perceptive intuition and spreads from one step to another at each stage of schematization and conceptualization.
Our finiteness meets the limited character of the technique which, as a formed matter, does not allow us to do everything. A material crushed on a cave, the meeting between these two surfaces does not allow us to draw what we have in mind. The mind has to adapt to the roughness of the stone and find the space between its hand, what it is holding and what it is trying to leave traces on. This game is a dexterity but it is not based on superior abilities of the anthropological kind but on its defiance. Everything happens as if it meets and communicates with the limits of the technique and finds in it the form of its dynamics.
Finitude then initiates the movement towards an elsewhere, towards a second Earth, a movement that is never finished because it carries the genesis of its beginning, the relationship between our organic finitude and our technical limits. Each in their own way, they bear witness to an encounter with an exteriority.