Monday, January 22, 2018

The SCAPEGOAT; שָׂעִיר לַעֲזָאזֵל 1986

The SCAPEGOAT; שָׂעִיר לַעֲזָאזֵל 1986 
"And Aaron shall cast lots upon the two goats: 
one lot for the LORD, and the other (i.e., The Scapegoat) 
lot for AZAZeL." Leviticus 16:8
Please note: the two goats are always already identical.


The Scapegoat 1986
bronze, woven cotton band (104 meters)
140 x 40 x 400 cm







The SCAPEGOAT; שָׂעִיר לַעֲזָאזֵל
In this context then, to explain the idea of the SCAPEGOAT, and in particular to justify the [epistemic] process of selection; namely, the mental power, the skill to identify the Scapegoat out of two identical goats; can only take place in language, which has a writing system. As such, the act of Reading about the very status of two identical objects, and the ability to choose and to promote one object, is always connected to Writing; 
After all, the Scapegoat as an image is our attempt to select something, which has already been selected by itself. Therefore, to gaze at the image of a certain selected object - i.e., the SCAPEGOAT - is not an act of solidarity, nor a censorship, but a certain momentary translation. The exchanging of an Image (Reading) with a Sign (Writing). True, the Scapegoat is understood not simply as an object in space and time, but as a Reading while Writing, an action that we need to take into consideration, even inside an unfamiliar room. In other words, the Scapegoat, the selected object, is the reason why each and every artwork on display, cannot be simply a category of ocular desire -  
After all, there is nothing asymmetrical about it, to the extent that the veiled mechanism of selection is already linked to our Reading while Writing; thereafter, the traces of the past could be found and identified because of the magnificent moment of the second birth of the Guest's mother tongue. 
(.... ref., Hegel's Aesthetics / Arthur Danto, The Transfiguration of the Commonplace)

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