In the East I was born as the later of two children, in the reunited Germany I was brought up. My sister – almost 20 years older than me – grew up in another country, I sometimes think to myself, wondering if this is really true. After graduating from high school, I went to television like my father and learned how to compose a picture, how to set light, how to develop a story. And yet I obviously was no artist and that bothered me and so I began studying photography in Leipzig by the end of 2008.
The high taste is a structural critique of the literary field – its institutions and protagonists – regarding itself, the retrospective critique of the critic in view of the determination of his critique.
The high taste tells the contingent history and the stories of the places and protagonists of the literary field and its natural antagonist, „the street“. The subject is the spaces of irritation, that spatial potential for revealing the mechanics of social structures in the absence of clear instructions for action through space. These moments are rare and fleeting, their emancipatory content is immeasurable and their genesis is the concern of The High Taste.
The French „haut goût“ is a culinary term that describes the austere smell and taste of particularly ripe or overripe meat. The enjoyment of this high taste presupposes an equally high taste in the connoisseur, whose ability to enjoy is based above all on his special knowledge of the matter (French connaître: to know‘), and in turn legitimizes it. Pierre Bourdieu describes this connection between taste and image in his main work „The Fine Differences“ as well as the proverbial high taste as a distinguishing feature from individuals and groups with less cultural capital. Above all, the literary field, as Bourdieu calls the community of cultural workers and consumers, works on his most important Product – distinction.
©2019 Nico Curian