By Barbara Bolt
Refuting the belief that artwork is a representational perform, Bolt's remarkable argument engages with the paintings of Heidegger, Deleuze and Guattari, C.S.Peirce and Judith Butler to argue for a performative courting among paintings and artist. Drawing on subject matters as varied because the paintings of Cézanne and of Francis Bacon, the transubstantiation of the Catholic sacrament and Wilde's novel the image of Dorian grey, she demanding situations the metaphor of sunshine as enlightenment, reconceiving this revealing mild because the blinding glare of the Australian sunlight, and means that an excessive amount of mild might in reality display not anything. eventually she asks: how does an embodied perform fare in the tradition of conceptual artwork?
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Extra info for Art Beyond Representation: The Performative Power of the Image
In destining (Geschick), says Heidegger, there is that sending-that-gathers (versammmelde Schicken) that starts man upon a way of revealing (Heidegger 1977a:24). In The Age of the World Picture, Heidegger notes that the displacement of presence by representation finds its beginnings in the figure of Plato. Heidegger identifies the impetus for a representational mode of thinking within Platonic thought. Whilst Plato existed within Greek thinking, his postulation of an Ideal world of Forms, constituted that sending-that-gathers and started man upon a way to a representational revealing.
For Heidegger, says Derrida, representational logic produces what-is as an object brought before man, fixed, stopped, available for the human subject who would possess a representation of it (Derrida 1982:306). However, if as Heidegger argues, what-is can mutate from what-is as presence in the Greek world, to what-is as a relation of representation in the modern, what is to say that representation itself is not undergoing transformations? Moreover if, as Heidegger argues, Plato set up the preconditions for representation and sent it on its way, then perhaps movement is a fundamental condition inside representation itself.
In Deleuzes estimation, representation has ossified, become sedimented and fixed. He is committed to an ontology of change. In this endeavour, he pits the monstrous nature of repetition against the stability and hierarchy of representation (Olkowski 1999:24). Here we can return to the question of practice. In the repetitive nature of practice it is never a question of repetition of the same. Rather, as Deleuze argues, repetition produces only the same of that which differs (Deleuze 1990:289).