Copy, Archive, Signature by Fort Jeff Richter Gerhard Derrida Jacques

Author:Fort, Jeff, Richter, Gerhard, Derrida, Jacques
Language: eng
Format: epub
Publisher: Stanford University Press
Published: 2011-08-11T04:00:00+00:00

JD: Yes, but the withdrawal [le retrait]—let us keep this word—designates at once the re-marking and the erasure of the line: the mark is with-drawn in it.9 The “great art” of this double re-treat or with-drawal, no less for photography than for literature, for painting and for drawing, is to grasp this line or this instant, certainly, but in grasping it to let it be lost, to mark the fact that “this took place, it is lost,” and that everything that one sees, keeps, and looks at [garde et regarde ] now is the being-lost of what must be lost, what is first of all bound to be lost. And the signature of the loss would be marked in what keeps and does not lose, what keeps (from) loss.10 It is necessary to keep loss as loss, if I can put it this way. This is perhaps the photographic emotion, the poignancy of which Barthes speaks. One keeps the archive of “some thing” (of someone as some thing) which took place once and is lost, that one keeps as such, as the unkept, in short, a sort of cenotaph: an empty tomb. But are there any tombs that are not cenotaphs? And is there anything photographic [de la photographie] without kenosis?

MW: The present of photography—in both senses of the word, as gift and present moment—is in these circumstances always a false appearance. This is what Rodin meant when he said that photography is incapable of taking on the line in its state of retreat/withdrawal, in its movement or tension. What he proposed was rather a kind of choreographic writing that broke with the recording of the moment. In this sense we can see an opposition between painting and sculpture as a medium of intensive, animated temporality, and photography, which was perhaps misunderstood as a chronological medium.

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