æ

“It is in this context, clearly dominated by a classist propaganda, chauvinist and persecutory, that the accusation of anti-Semitism and hidden negationism – despite being completely unfounded – tetanizes the majority of its victims. How should we explain this strange phenomenon?

A first reason lies in the brutality of the accusation, very unusual in a society bathed in a polite consensus – at least among well-behaved people. Suddenly, in a procedure reminiscent of the logic of fascism in which insult overshadows argument, we are dealing with a genuine provocation: an accusation so serious and so incongruous that we can well imagine it leaves some people speechless.

And then, it’s very difficult to defend yourself against such an accusation: ‘No, I’m not anti-Semitic’ being a double negation (‘I’m not one of those people who don’t like Jews’) with the fragility this implies. How, indeed, can one prove that one is not something? Say that one has Jewish friends? That’s the worst of all. (‘Ah! He’s got his good Jews.’) Remind people, in certain cases, that one is Jewish oneself? We have seen how that is an aggravating factor. Launch a legal action? Lost in advance, as the accusers are clever enough to use terms that shelter them from prosecution for defamation, which has its precise rules. They will never say that you’re anti-Semitic; they’ll even say that ‘of course, you’re not’, letting their argument, their tone, their comparisons and their historic references do the slandering work while they remain protected.”
― Alain Badiou, Reflections On Anti-Semitism

“L'esprit, comme on le sait, ne dénomme pas par hasard les liqueurs les plus fortes, les esprits de vin ou les spiritueux à la confection desquels président une fermentation ou une distillation, processus destinés à dégager une essence, c'est -à -dire la vérité pure, idéelle et sensée d'une substance concrète, opaque et sensible. L'esprit ou la liqueur, la liquidité ou la liquoricité de l'esprit ne représente rien d'autre que la sensibilité de l'insensible, la sensualité exquise du Sens pur: vérité, transcendance, divinité, révélation, extase.”
― Jean-Luc Nancy, Ivresse

“That spring everyone in Judy Chicago’s class collaborated on a 24 hour performance called Route 126. The curator Moira Roth recalls: “the group created a sequence of events throughout the day along the highway. The day began with Suzanne Lacy’s Car Renovation in which the group decorated an abandoned car…and ended with the women standing on a beach watching Nancy Youdelman, wrapped in yards of gossamer silk, slowly wade out to sea until she drowned, apparently…” There’s a fabulous photo taken by Faith Wilding of the car—a Kotex-pink jalopy washed up on desert rocks. The trunk’s flung open and underneath it’s painted cuntblood red. Strands of desert grass spill from the crumpled hood like Rapunzel’s fucked-up hair. According to Performance Anthology—Source Book For A Decade Of California Art, this remarkable event received no critical coverage at the time though contemporaneous work by Baldessari, Burden, Terry Fox boasts bibliographies several pages long. Dear Dick, I’m wondering why every act that narrated female lived experience in the ’70s has been read only as “collaborative” and “feminist.” The Zurich Dadaists worked together too but they were geniuses and they had names.”
― Chris Kraus, I Love Dick

“Study’s good, because it microcosms everything—if you understand everything within the walls of what you study you can identify other walls too, other areas of study. Everything’s separate and discrete and there is no macrocosm, really. When there are no walls there is no study, only chaos. And so you break it down.”
― Chris Kraus, I Love Dick