From the visible to the art of saying?

The Philological Courier (September 2003

At a time that is still difficult for us to date the system of seduction inherent in the function of art had gone from the sensitive, especially visual dimension, to the intellectual element (interpretation and concept). In other words, the verbal statement had probably taken the place of art itself, at least, of art how it was conceived before. Consequently, it seems as though the creator of the tablets found in the East of France (Alsace) at the Chanteroels estate, has mostly tried to visibly materialize the talk on art at that time by playing on the delusion of seduction. In doing so, the artist created fake discursive works graphically built on his own idea on language. In other words, the unknown author of this apocryphal text, that neither Parmenidus nor Wittgenstein would repudiate, based himself, at the time, on elements of day to day life (plough, house, sun…), like the spiritual sons of Duchamp do today when they use a car, a bathroom sink and a dustbin. The results of this analysis lead us straight into the possible interpretation of the tale imprinted on the steles of the building site at Les Chanteroels. The clichés having become archetypes, on which are based the tablets’ graphics, might have given rise to the functions of language at the time. The tablets may lead us to think that, in fact, a cat may not necessarily be a cat even though, however, it could be one! (R. Mutt).