The problem with kitsch is that it is all too profound, manipulating deep libidinal and ideological forces, while true art knows how to remain at the surface, how to subtract it's subject from it's deepest context of historical reality. The same goes for contemporary art, where we often encounter brutal attempts to return to the Real, to remind the spectator or reader that he is perceiving a fiction, to awaken him from a sweet dream.

The true ethical test is not only the readiness to save the victims, but also - even more, perhaps - the ruthless dedication to annihilating those who made them victims.

What if the way we perceive a problem is already part of the problem?

The problem with kitsch is that it is all too profound, manipulating deep libidinal and ideological forces, while true art knows how to remain at the surface, how to subtract it's subject from it's deepest context of historical reality. The same goes for contemporary art, where we often encounter brutal attempts to return to the Real, to remind the spectator or reader that he is perceiving a fiction, to awaken him from a sweet dream.

It is more satisfying to sacrifice oneself for the poor victim than to enable the other to overcome their victim status and perhaps become even more succesfull than ourselves

A German officer visited Picasso in his Paris studio during the Second World War. There he saw Guernica and, shocked at the modernist «chaos» of the painting, asked Picasso: «Did you do this?» Picasso calmly replied: «No, you did this!»

[T]aking the Third into account does not bring us into the position of pragmatic consideration, of comparing different Others; the task is rather to learn to distinguish between false conflicts and the true conflict. For example, today's conflict between Western liberalism and religious fundamentalism is a false one, since it is based on the exclusion of the third term which is its truth: the Leftist emancipatory position.