By Nancy, Jean-Luc; McKeane, John
During this paintings, Jean-Luc Nancy is going past his previous historic and philosophical inspiration and attempts to imagine - or a minimum of crack open a bit to considering - a stance or bearing that may be compatible to the retreat of God that effects from the self-deconstruction of Christianity.
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Being unable to give an account, lacking yardsticks or measures, sensing that there is something beyond the calculable, which cannot be reduced to any commensuration, comprehension, or convention whatsoever. Even not recognizing “what” or “who” is at issue, not recognizing at all but sensing that it is so: that the homogeneous is opened by a heterogeneity beyond any equivalence [homologie]—as when, in the moment of awaking, it is possible, briefly, not to know that one is awaking, or where, or when, or why: we all know what that is, even as we also know perfectly well that it is not.
Here in the open”: this is henceforth the world, our world. Open to nothing other than to itself. Transcendent in its own immanence. Invited, called, no longer to consider its reason for being but rather to confront the dis-enclosure of all reasons—and of all cynical, skeptical, or absurd unreason—in order to measure itself against this: that this world alone, our world, provides the measure of the incommensurable. Its contingency, its fortuitousness, its errancy are only fragile names, linked to the regime of sufficient reason, that attempt to say a reason that is not insufficient (it is not an abyss, though it has no bottom), but rather overflows all sufficiency, exceeding all satisfaction.
Nietzsche (to invoke the best witness to this subject) understood it perfectly. This despiser of “backworlds” [arrièremondes] knew that Christianity (at least in a version of it to which no Gospel or Church ever truly conforms) consists in being in the world without being of the world. This is to say that it does not limit itself to adhering to inherence, to what is given (whether this is taken as the “real” or, on the contrary, as an “appearance”). Two of Nietzsche’s well-known figures illustrate what he sometimes claims to be the “experience at the heart” of Christianity: the tightrope dancer and the child playing with dice.
Adoration by Nancy, Jean-Luc; McKeane, John