Deleuze and Contemporary Art

337 Pages·2010·4.171 MB·English

by  Stephen Zepke (Editor), Simon O’Sullivan (Editor)

DELEUZE CONNECTIONS
DELEUZE CONNECTIONS
Series Editor: Ian Buchanan
Deleuze and Contemporary Art
Deleuze and
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Edited by Stephen Zepke and Simon O’Sullivan l
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u Contemporary Art
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Michel Foucault once suggested that the twentieth century would be known as
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‘Deleuzian’;certainly,in the field of contemporary art,this prediction appears to
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have been accurate.But what,we might ask,is at stake in this take up of Deleuze
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and Guattari’s thought? What are its limits and its possibilities? Deleuze and n
Contemporary Art addresses these questions in presenting a series of experimental t
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and explorative inflections on the ‘and’ of the book’s title. m
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From those who explicitly address the political and the expanded ‘aesthetic o
paradigm’ of art practice today,to those more concerned with specific scenes and r
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encounters or who rethink the question of technology in relation to art, this r
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collection contains work at the cutting edge of this new area of enquiry.Containing

essays by philosophers and artists, as well as writers from outside the Anglo- A
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American world, this collection is an exercise in transversality – an intervention t
into the field of Deleuze and Guattari Studies and contemporary art.
Stephen Zepke is an independent researcher.They co-edited Deleuze,Guattari and
the Production of the New (2008). Simon O’Sullivan is a Senior Lecturer in Visual
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Cultures at Goldsmiths,University of London. d
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Cover design:River Design,Edinburgh
EDINBURGH UNIVERSITY PRESS
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22 George Square,Edinburgh EH8 9LF d
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insert barcode
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ISBN 978 0 7486 3838 3 u Edited by Stephen Zepke and Simon O’Sullivan
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www.euppublishing.com h
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Deleuze and Contemporary Art
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Deleuze Connections
‘It is not the elements or the sets which defi ne the multiplicity. What
defi nes it is the AND, as something which has its place between the
elements or between the sets. AND, AND, AND – stammering.’
Gilles Deleuze and Claire Parnet, Dialogues
General Editor
Ian Buchanan
Editorial Advisory Board
Keith Ansell-Pearson Gregg Lambert
Rosi Braidotti Adrian Parr
Claire Colebrook Paul Patton
Tom Conley Patricia Pisters
Titles Available in the Series
Ian Buchanan and Claire Colebrook (eds), Deleuze and Feminist Theory
Ian Buchanan and John Marks (eds), Deleuze and Literature
Mark Bonta and John Protevi (eds), Deleuze and Geophilosophy
Ian Buchanan and Marcel Swiboda (eds), Deleuze and Music
Ian Buchanan and Gregg Lambert (eds), Deleuze and Space
Martin Fuglsang and Bent Meier Sørensen (eds), Deleuze and the
Social
Ian Buchanan and Adrian Parr (eds), Deleuze and the Contemporary
World
Constantin V. Boundas (ed.), Deleuze and Philosophy
Ian Buchanan and Nicholas Thoburn (eds), Deleuze and Politics
Chrysanthi Nigianni and Merl Storr (eds), Deleuze and Queer Theory
Jeffrey A. Bell and Claire Colebrook (eds), Deleuze and History
Laura Cull (ed.), Deleuze and Performance
Mark Poster and David Savat (eds), Deleuze and New Technology
Simone Bignall and Paul Patton (eds), Deleuze and the Postcolonial
Forthcoming Titles in the Series
Laura Guillaume and Joe Hughes (eds), Deleuze and the Body
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iii
Deleuze and Contemporary
Art
Edited by Stephen Zepke and
Simon O’Sullivan
Edinburgh University Press
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© in this edition, Edinburgh University Press, 2010
© in the individual contributions is retained by the authors
Edinburgh University Press Ltd
22 George Square, Edinburgh
www.euppublishing.com
Typeset in 10.5/13 Sabon
by Servis Filmsetting Ltd, Stockport, Cheshire, and
printed and bound in Great Britain by
CPI Antony Rowe, Chippenham and Eastbourne
A CIP record for this book is available from the British Library
ISBN 978 0 7486 3837 6 (hardback)
ISBN 978 0 7486 3838 3 (paperback)
The right of Stephen Zepke and Simon O’Sullivan
to be identifi ed as authors of this work
has been asserted in accordance with
the Copyright, Designs and Patents Act 1988.
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Contents v
Contents
Acknowledgements vii
List of Illustrations viii
Introduction: Deleuze and Guattari and Contemporary Art 1
Stephen Zepke and Simon O’Sullivan
POLITICS 13
1 The Politics of the Scream in a Threnody 15
Gustavo Chirolla Ospina
2 A Shift Towards the Unnameable 34
Suely Rolnik
3 The Heterogenesis of Fleeing 43
Gerald Raunig
4 Anita Fricek: Contemporary Painting as Institutional Critique 63
Stephen Zepke
THE AESTHETIC PARADIGM 83
5 Capitalism and Schizophrenia and Consensus:
Of Relational Aesthetics 85
Eric Alliez
6 The Practice and Anti-D ialectical Thought of an
‘Anartist’ 100
Maurizio Lazzarato
7 Ethologies of Software Art: What Can a Digital Body of
Code Do? 116
Jussi Parikka
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vi Contents
8 Fractal Philosophy (And the Small Matter of Learning
How to Listen): Attunement as the Task of Art 133
Johnny Golding
SCENES AND ENCOUNTERS 155
9 An Art Scene as Big as the Ritz: The Logic of Scenes 157
David Burrows
10 Abstract Humour, Humorous Abstraction 176
Robert Garnett
11 From Aesthetics to the Abstract Machine: Deleuze,
Guattari and Contemporary Art Practice 189
Simon O’Sullivan
12 Traps Against Capture 208
Edgar Schmitz
TECHNOLOGIES 225
13 Sign and Information: On Anestis Logothetis’
Graphical Notations 227
Claudia Mongini
14 Anti- Electra: Totemism and Schizogamy 246
Elisabeth von Samsonow
15 Unimaginable Happenings: Material Movements in
the Plane of Composition 266
Barbara Bolt
16 BLOODCRYSTALPOLLENSTAR 286
Neil Chapman and Ola Stahl
Notes on Contributors 310
Index 317
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vviiii
Acknowledgements
The editors would especially like to thank all those who gave their
labour to this project for free, most notably the contributors, and
the translators Juan Fernando Mejía Mosquera, Tim Adams, Robin
Mackay, Victor Faessel and Brian Holmes. We would also like to thank
Anita Fricek, Leonardo Kovacˇevic´, Tom Medak, Petar Milat, Hannah
Neighbour, Ralph Paine, Nick Thoburn and Carol Macdonald at EUP.
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vii i
List of Illustrations
1.1: Clemencia Echeverri, Treno. Multiscreen projection in the
Actos del Habla exhibition, Art Museum of the National
University, Bogota, Colombia, 2009. Image courtesy of the
artist. 17
1.2: Clemencia Echeverri, Treno. Two- screen projection, Alonso
Garces Gallery exhibition, Bogota, Colombia, 2007. Image
courtesy of the artist. 20
1.3: Clemencia Echeverri, Treno. Photograph of the Cauca River.
0.90 × 0.69 m. 2008. Image courtesy of the artist. 27
1.4: Clemencia Echeverri, Treno. Multiscreen projection in the
Actos del Habla exhibition, Art Museum of the National
University, Bogota, Colombia, 2009. Image courtesy of the
artist. 31
3.1: Marcelo Expósito, video still from The Year in Which the
Future Ended (Began), 12 min., 2007. Image courtesy of the
artist. 49
3.2: Marcelo Expósito, video still from First of May
(the City-F actory), 62 min., 2004. Image courtesy of the artist. 60
4.1: Anita Fricek, Day Room, The Girls’ Dance (from a still
from the TV fi lm ‘Bambule’, Ulrike Meinhof/Eberhard Itzenplitz,
BRD 1970), oil on canvas, 195 × 155 cm, 2005. Photo: Michael
Nagl. Image courtesy of the artist. 67
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List of Illustrations ix
4.2: Anita Fricek, Butterfl y Girl, oil on canvas, 150 × 190 cm,
2002. Photo: Michael Nagl. Image courtesy of the artist. 69
4.3: Anita Fricek, Zéro de Conduite 1933 (Abstraction
Machine – Re-e ntering the Abstraction), oil on canvas,
195 × 260 cm, 2005. Photo: Michael Nagl. Image courtesy of
the artist. 71
4.4: Anita Fricek, Kindergarten 1978 (The radical girlie
perspective), oil on canvas, 200 × 200 cm, 2006. Photo:
Michael Nagl. Image courtesy of the artist. 73
4.5: Anita Fricek, White Cube Rush – Dancing the White Cube,
oil on canvas, woollen yarn, each 250 × 200 cm, 2005. Photo:
Michael Nagl. Image courtesy of the artist. 77
7.1: GWEI Diagram. Online at: http://gwei.org/pages/diagram/
diagram.html 127
Reproduced courtesy of Paolo Cirio.
8.1: Vincent van Gogh, Self- Portrait Dedicated to Paul Gauguin,
1888; oil on canvas, 60.5 × 49.4 cm. Fogg Art Museum, Bequest
from the Collection of Maurice Wertheim, Class of 1906,
1951.65. Copyright of photo: Katya Kallsen © President and
Fellows of Harvard College. 133
8.2: Vincent van Gogh, Self- Portrait with Bandaged Ear, Arles,
January 1889; oil on canvas, 60 × 49 cm. The Courtauld
Institute Galleries. Image courtesy of The Samuel Courtauld
Trust, Courtauld Gallery, London. 133
8.3: Vincent van Gogh, (Self-P ortrait?) The Sunfl owers (detail),
1888; replica (also by Van Gogh), January 1889, oil on canvas,
21 × 73 cm, © The National Gallery, London. 133
9.1: BANK, Dog- U-M ental VIII (Goffi ck, Go- Orphic), 1996,
installation view. Photo credit: BANK/Simon Bedwell. 170
9.2: BANK, Zombie Golf, installation view. Photo credit:
BANK/Simon Bedwell. 171
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