PHILOSOPHY AND ART: A critical review of the aesthetic-political strategies of irony, from Gilles Deleuze's perspective to contemporary art in Mexico.

Gilles Deleuze smiles at Claire Parnet, he carefully answers each of the questions she poses, he observes her, his gaze oscillates between attentive listening and inquisitive pointing; he gives her a frank but subtle smile. On the other side of the screen I observe the ritual of the dialogue, not being present in that intimate space of the nineties, but in front of the light box of my computer. I rewind the detail.

I note the interactions of the words: it is a dialogue that happens without being a class, without being a debate, without being a writing. It is an encounter, an appointment. Again, I lose attention as I see a cigarette light up on the screen and imagine the smell of the interior space, the distribution of objects, I see smoke flooding a room, I hear a cut. I restart the same interview three more times.

It repeats itself in other dialogues: those of memory, in urban transit, in an afternoon class, in the anecdote in a bar. Deleuze's smile persists and Claire's tone returns, like a voice that haunts me.