"There is no such thing as any possible "end of history" or "end of art", because the game is being forever re-enacted, in relation to its function, in other words, in relation to the players and the system which they construct and criticise". (2002: 18)
"A new game is announced as soon as the social setting radically changes, without the meaning of the game itself being challenged. This inter-human game which forms our object (Duchamp: "Art is a game between all people of all periods") nevertheless goes beyond the context of what is called "art" by commodity." .... .... ? (2002: 19)
"Forms are developed, one from another. WHat was yesterday regarded as formless or "informal" is no longer these things today. When the aesthetic discussion evolves, the status of form evolves along with it, and through it." (2002: 21)
"Each particular artwork is a proposal to live in a shared world, and the work of every artist is a bundle of relations with the world, giving rise to other relations, and so on and so forth, ad infinitum." (2002: 22)
"Our very cultural works are are submitted for re-reading/recycling, attesting to the ubiquity of optical instruments, and their current prevalence over any other production tool." (2002: 77)
"The image is a moment
A representation is just a moment M of the real. All images are moments, just as any point in space is both the memory of a time x, and the reflection of a space y. Is this temporal factor frozen, or to the contrary, is it a producer of potentialities? What is an image that does not contain any forthcoming development, any "life possibility", apart from a dead image?" (2002: 80)
The engineering of intersubjectivity
The nineties saw the emergence of collective forms of intelligence and the "network" mode in the handling of artistic work. The popularisation of Internet web, as well as the collectivist practices going on in the techno music scene, and more generally the increasing collectivisation of cultural leisure, have all produced a relational approach to the exhibition. Artists look for interlocutors. Because the public is always a somewhat unreal entity, artists will include this interlocutor in the production process itself." (2002: 81)
