Michel Henry

Michel Henry (10 January 1922 – 3 July 2002) was a French philosopher, phenomenologist and novelist. He wrote five novels and numerous philosophical works. He also lectured at universities in France, Belgium, the United States, and Japan.

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aprile 10, 2026

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aprile 10, 2026

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"The life that we are speaking about cannot be confused with the object of scientific knowledge, an object for which knowledge would be reserved to those who are in possession of it and who have had to acquire it. Instead, it is something that everyone knows, as part of what we are. But how can "everyone" -- that is, each individual as a living being -- know what life is, except in the respect that life knows itself and that this original knowledge of the self constitutes its own essence? Life feels and experiences itself in such a way that there is nothing in it that would not be experienced or felt. This is because the fact of feeling oneself is really what makes one alive. Everything that has this marvelous property of feeling itself is alive, whereas everything that happens to lack it is dead. The rock, for example, does not experience itself and so it is said to be a "thing". The earth, the sea, the stars are things. Plants, trees, and vegetation are also things, unless one can detect in them a sensibility in the transcendental sense, that is to say, a capacity of experiencing itself and feeling itself which would make them living beings. This is life not in the biological sense but in the true sense -- the absolute phenomenological life whose essence consists in the very fact of sensing or experiencing oneself and nothing else -- of what we will call subjectivity."

- Michel Henry

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"Even if this historical genesis is true and does have the merit of making Kandinsky's evolution more or less analogous to those of other great artists of his time and thereby 'comprehensible', it nonetheless falsifies the true meaning of abstract painting to the point of completely concealing its rationality. The problem of pictorial representation did not come to be reconceived due to a crisis of objectivity that is more or less analogous on the aesthetic plane to what it was in the scientific domain, and in particular, the physics of the period. It does not come from a reworking of perceptual representation, either. Kandinsky's abstraction came from a sudden failure of the object, its inability to define the content of the work any longer. This abstraction, this content -- the 'abstract content' -- is invisible life in its ceaseless arrival into itself. This continual emergence of life, its eternally living essence, provides the content of painting and at the same time imposes a project on the artist, namely, that of expressing this content and the pathetic profusion of Being. 'Abstract' no longer refers to what is derived from the world at the end of a process of simplification or complication or at the end of the history of modern painting; instead, it refers to what was prior to the world and does not need the world in order to exist. It refers to the life that is embraced in the night of its radical subjectivity, where there is no light or world."

- Michel Henry

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