my first chance encounter in late May of 1968 on the shores of Lake Lucerne with
that impishly smiling wise man-king, that mysterious chess player named Marcel
who called himself a “cheese monger” and with whom I made an extravagant
trip in a pale green Volkswagen into neighboring Emmental, I have tried to elucidate
this fundamental question, to wit, what enigmatic link exists between image, plumage,
foliage and cheese in the fridge?
fall at attitudes I shall attempt to answer that question for the first time publicly
in person. In his Dictionary of Received Wisdom, Flaubert has Bouvard and Pécuchet
note by way of a definition for the word “cheese”: “quote Brillat-Savarin’s
aphorism that ‘a dinner without cheese is a beautiful woman who is missing
Peter Litscher (photo : Steeve Iuncker)
years now I’ve explored the field of art from the margins: the victims of
art (Victims of Esthetic Echoes) in my lecture Kunst kann ins Auge gehen, which
I gave at the Fondation Cartier in Paris and the Haus der Kunst in Munich; figure
skating with Gaston Seelbach; traffic regulation and dance with Laura Wolff; artistic
cycling with Wanda Tura; as well as martial arts with Eleonora
Duse et son Kangourou Boxeur. By turning my attention to art and cheese,
I think I can finally tackle a central question touching on this reflection about
art, the notion of production, art’s alchemical process itself.
some of the greatest creators of the 20th century (I’ll mention
only James Joyce and Marcel Duchamp) always remained particularly enigmatic about
their artistic work, they did nevertheless reveal on many occasions their special
relationship to and passion for cheese, its production and consumption.
Peter Litscher (CH, 1955, based in Paris)