Alberto Giacometti and Jean Genet

Jean Genet写Alberto Giacometti ［随意摘录部分］我看Genet的电影，觉得他非常有才，有尖锐的力量。而读这本书，我感觉他非常非常人性，有极度人性的温柔和理解，他的理解达到的深度我觉得是真正人文主义的核心，有众生平等的认识，平等性在每个存在的全然的孤独中。不可将孤独庸俗化，也不可将悲哀庸俗化，那里是最遥远也是最切近的庇护所。
http://www.greytiger.co.uk/the_studio_of_giacometti.php
Gold, they are at the basis of the time itself, at the origin of everything, they ceaselessly, within sovereign immobility, approach and back away. My gaze tries to tame them, to approach them and then - without fury, without anger or thunder, simply because of it being so compressed, reduced to a point of creating a belief in their extreme proximity- they retreat out of sight: it’s because this distance between them and myself has suddenly unfolded.
…every work of art, if it wants to reach to the grandest of proportions, must with patience, and with infinite care from the moments of its first planning, descend back through millennia, rejoining if it be possible that immemorial night inhabited by the dead who will recognize themselves within the work itself.
No, no, the work of art is not destined for the generations of children to come. It’s offered to the innumerable dead. Who approve. Or refuse it. But these dead that I was talking about haven’t ever been alive. Or I forget it. They were enough so to have it forgotten by us, and so that their lives had as function to convey them past this tranquil shore from which they are waiting for a sign - come from here - one that’ll recognize.
Although still present here, where actually are these figures of Giacometti of which I was speaking, if not in death itself? From which they escape to approach with each appeal of our gaze.
To the people of death, the work of Giacometti communicates knowledge of the solitude of each being and of each thing, and states that his isolation is our most assured glory.
a knowledge of a face is it want to be aesthetic should refuse to be historic. [also see text before]
the solitude of the person or the the object represented that is restored to us, and we, who look to see and be affected by it, need to have an experience of space not in its continuity, but in its discontinuity.
Each object creates its own infinite space.
the kinship manifested by his figures seems to me to be the precious point at which the human being will be brought back to that which is most irreducible to itself: its isolated state of being exactly equivalent to all others.
This secret region, this isolation where beings - things also - take their refuge, this is what gives so much beauty to the street.
… each being is revealed to me in that which is newest, most irreplaceable — and it’s always a wound — I can seize them so quickly thanks to the solitude where this wound of which they hardly have any awareness puts them and yet into which all their being flows. In this way I cross a world as sketched by Rembrandt, where everybody and everything is seized in their actual truth, leaving plastic beauty far behind.
Solitude, as I understand it, doesn’t mean a miserable condition but rather a secret royalty, the deep, incommunicable, and more or less obscure awareness of unassailable singularity.
[touch] my hand lives, my hand sees.
Their beauty — the sculptures of Giacometti seem to me to hold themselves in an incessant, uninterrupted coming and going between the most extreme distance and the closet familiarity: an endless oscillation which is how one can say that they are in movement.
on the solitude of objects, 他写的那块毛巾的孤独太感人！
Because he doesn’t ever seem to have been concerned with tones, shadows, or conventional values. As result he achieves a linear matrix that is simply made up of drawings within the inside of the drawing… a case of indestructible solidity, one obtained by the figure itself. It has an exceptionally large molecular weight. It didn’t bring itself to life in the way of certain figures about which one can say that they’re alive because they are captured in some particular moment in their movements, and because they are signaled by an accident that belongs solely to their own history, it’s almost the opposite: it’s that the faces painted by Giacometti seem to have focused all of the life that remains to them in their one last second of living, it’s that they no longer have a single gesture to make, and it’s (not that they have just happened to die) that they ultimately know death, as too much life piled up in them.
…life resembles inanimate matter. Vacuumed faces.
Everything must appear to him in its most precious solitude.
If I am only what I am, I’m indestructible. In being purely what I am, without holding anything back, my loneliness knows yours.
                
                
                
                
                
                
                
                
                
                
Jean Genet在Giacometti其人其作品那里发现的是孤独对人的本质的庇护，对生命真实的庇护。这也是伦勃朗的。