this is great and made me laugh kinda..
“The real non-places of supermodernity,” according to Marc Augé, “are original in that they also define themselves by the words and texts that they propose to us.” . Exactly. The fundamental concept of the non-place deserves then to be applied. This may even be the primary interest to be found in this notion star of sociology : that, in the end, it does not concern just physical places, but potentially more abstract ones. For instance, a field of practical theory. So it is that when it comes to myself, I have to admit that more than train stations and airports, the primary “non-place” that I experience on a regular basis, in the accepted way of Augé, concerns the area of art criticism itself. It is an initially intimidating practice (for someone like myself who, moreover, isn’t an academic), but one realizes quickly that its formal and conceptual repetition (a precise and recurring semantics, the shared use of a limited body of references, the formatting of styles, the international touch [In English in the text] of certain publications), the transformation into a trompe-l’oeil space of investigation, a deterritorialized territory that is still extremely well mapped and comfortable for someone who is used to crossing it. It is an undetermined position with an overly-determined, impersonal, and oftentimes interchangeable semantics. Henceforth, art criticism circumscribes a potential space of adventures (of thought, of investigation) that are discreetly exciting but rarely real undertakings. Art criticism often remains a transit lounge (between work and viewer, artist and work, art and art, discipline and discipline) that sows few theoretical seeds, yet multiplies references whose aims are functional. Art criticism is the space of a voyage between two poles (journalism and art theory), the practice of the fleeting that is immediate and changing, that has no real past nor future, that operates with a precise finality in time and space (a report on an exhibition, a catalog, a press release). Finally, art criticism is a place that is foreign to everyone. It is a place that can be read but only reread a little. Art criticism expresses itself but is unprintable, because it can be inscribed only with difficulty into a territory of investigation. Consequently, it circumscribes an impersonal, suspended place in thought only the origin and goal of which entirely justify existence.