"Hieroglyphs of the Future:
Jacques Rancière and the Aesthetics of Equality"
Brian Holmes
"We're not surplus, we're a plus." The slogan appeared at the demonstrations
of the French jobless movement in the mid-nineties, in journals, on banners,
on tracts printed by the political art group Ne pas plier. It knitted the
critical force and the subjective claims of the movement into a single phrase.
To be "surplus" (laid off, redundant) was to be reduced to silence in a
society that effectively subtracted the jobless from the public accounts, that
made them into a kind of residue -– invisible, inconceivable except as a
statistic under a negative sign. Excluded, in short: cut out of a system based
on the status of the salaried employee. Until they finally came together to
turn the tables, reverse the signs, and claim a new name on a stage they had
created, by occupying unemployment offices in a nation-wide protest during the
winter of 1997-98. The people with nothing erupted onto the public
scene. "We're a plus," they said, intruding through the TV cameras into the
country's living rooms. Which also meant, "We'll drink champagne on Christmas
eve."
One way to grasp the aesthetic language of the French social movements in the
nineties -– and of the transnational movements now emerging -– is to read
Jacques Rancière's work on equality.