Abstract
This paper analyzes the connection between the crisis of vision in the thinking of Maurice Blanchot and his conception of art. The denigration and deconstruction of the visible makes a number of phenomena understandable, including: the postmodern nocturnal nature of art, Hegel’s “end of art” as divine content; the infi nite duplicity of Blanchot’s regard of the mythical fi gures Orpheus and Eurydice; the crisis of representation and its referent spanning Blanchot’s thinking about art. From this perspective, we analyze the importance of Blanchot’s meditation on (indicative) language as a means to thinking the work of art.
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