Bosch Foresaw Globalisation

Bosch Foresaw Globalisation

By John Berger
The Guardian - South Africa News

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Bosch Foresaw Globalisation

The Mail & Guardian (Johannesburg)
November 26, 1999
By John Berger

Johannesburg - In the history of painting one can sometimes find strange prophecies: prophecies that were not intended as such by the painter. It is almost as if the visible by itself can have its own nightmares. For example, in Breughel's Triumph of Death, painted in the 1560s and now in the Prado museum, there is already a terrible prophecy of the Nazi extermination camps.


Most specific prophecies are bound to be bad, for, throughout history, there are always new terrors. Even if some of the terrors disappear, there are no new happinesses - happiness is always the old one. It is the modes of struggle for this happiness that change. Half a century before Breughel, Hieronymus Bosch painted his Millennium Triptych. The left-hand panel shows Adam and Eve in Paradise, the large central panel describes the Garden of Earthly Delights, and the right-hand panel depicts hell. And this hell has become a strange prophecy of the mental climate imposed on the world, at the end of our century, by globalisation and the new economic order.


Let me try to explain how. It has little to do with the symbolism employed in the painting. Bosch's symbols probably came from the secret, proverbial, heretical language of certain 15th-century millennial sects, who believed that, if evil could be overcome, it was possible to build heaven on earth. Many essays have been written about the allegories to be found in his work. Yet if Bosch's vision of hell is prophetic, the prophecy is not so much in the details - haunting and grotesque as they are - as in the whole. Or, to put it another way, in what constitutes the space of hell.


There is no horizon there. There is no continuity between actions, there are no pauses, no paths, no pattern, no past and no future. There is only the clamour of the disparate, fragmentary present. Everywhere there are surprises and sensations, yet nowhere is there any outcome. Nothing flows through: everything interrupts. There is a kind of spatial delirium.


Compare this space to what one sees in the average publicity slot, or in a typical CNN news bulletin, or any mass- media commentary. There is a comparable incoherence, a comparable wilderness of separate excitements, a similar frenzy.

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