This false distance is present everywhere: in spy films, in Godard, in modern advertising, which uses it continually as a cultural allusion. It is not really clear in the end whether this 'cool' smile is the smile of humour or that of commercial complicity. This is also the case with pop, and its smile ultimately encapsulates all its ambiguity: it is not the smile of critical distance, but the smile of collusion

Politicians - power itself - are abject because they merely embody the profound contempt people have for their own lives. One should be grateful to the politicians for accepting the abstractness of power, and ridding others of its burden. This inevitably kills them but they get their revenge by passing onto others the corpse of power.

For me, the photography, in its purest form, is a variant of the fable. Another way of saving the appearances - a way of signifying, through this fabulous capture, that this supposed real world is always about to lose its meaning and its reality.

... the age of simulation thus begins with a liquidation of all referentials - worse: by their artificial resurrection in systems of signs, a more ductile material than meaning... It is no longer a question of imitation, nor of reduplication, nor even of parody. It is rather a question of substituting signs of the real for the real itself.

At male strip shows, it is still the women that we watch, the audience of women and their eager faces. They are more obscene than if they were dancing naked themselves.

You are born modern, you do not become so.

There is nothing funny about Halloween. This sarcastic festival reflects, rather, an infernal demand for revenge by children on the adult world.