Art & language, made in Zurich : selected editions, 1965-1972 : the Philippe Méaille collection

'The situation now is more complex and expanded.'

To talk of a bland, neutral-looking form as the vehicle for a hostile or aggressive content derives from those artists who see themselves as iconoclasts: they have hardly come to a realization about climaxes. Confronting the work with expectations derived from and structured by the cubist aesthetic, in which what is to be had from the work is located specifically and in the specific object.

The unit and the relationship to the whole - to speak of an object and remember that the only time the idea of movement entered was when it was recognised that there were errors in calculation. There were no mistakes. It was just that circumstances were so different from the idea that was intended to cover them. And the idea was not an object - rather a tool, an instrument. But it had all the elements (present only as elements of measurement) that the object was to have. Getting to work with tools that leave no traces. We are still dealing with things.

Considering being aware of the objects informed (intellectual) or uninformed (emotional, critical, discursive, kinesthetic). Thus making possible a transfer of experience (which was which ?) so: composition - that to be direct it can be not preceded, etc. until which was which ? was crossed out since nothing has been placed to be an object of awareness. This does not involve a flexibility, optimal or minimal.