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Materialism and Capitalism Today:Zoo-aesthetics and a Critique of the Social Bond after Marcel Mauss and André Leroi-Gourhan
Get PDFThis chapter identifies a materiality of social bonds that is not reducible to the logic of exchange value between alienated subjects. It analyses different forms of relationship of the human body to the milieu, following Marcel Mauss’s techniques of the body and André Leroi-Gourhan’s definitions of evolution. The producing body, it is argued, does more than only embody norms in a process of subjectivation. The externalization of the body in gestures cannot be reduced, therefore, to the evolutionary level that produces ethnic and social norms
Psychodynamism of Individuation and New Materialism:Possible Encounters
Get PDFIn this chapter, I explore the possible benefits of combining an analysis of the psychodynamism of individuation with New Materialism. I contend that concepts such as dynamic objectivity and autonomy can help us to understand the specificity of human agential cuts proposed by New Materialism. This, in turn, opens up possible answers to ethical difficulties left entangled by New Materialism’s posthumanist approach to ethico-onto-epistem-ology
Hands Tied
No full textAnother Screen together with ICI Berlin presents two rarely exhibited films on hands and their place in relation to fate, work, pleasure, touch, and surveillance: Maria Lassnig’s Palmistry (1974) and Ayesha Hameed’s A Rough History (of the destruction of fingerprints) (2015). These two short films are accompanied by a transcribed roundtable discussion, which includes a number of voices: Rachel Aumiller, Sam Dolbear, Nadine El-Enany, Amelia Groom, Clio Nicastro, Daniella Shreir, Anja Sunhyun Michaelsen, and M. Ty. Hands Tied is programmed as part of Sam Dolbear’s ICI project ‘Cosmic Reductions: Palms, Fate, Body, Character’, which has a newsletter available for subscription here.
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Reduction as Expansion:The Queer Capacities of Abstract Art
No full textAbstract art is sometimes considered merely formal, and its reductive visual qualities are seen as a refusal of representation or a flight from subject matter. By contrast, this talk will examine how artists and critics have imbued abstraction with queer capacities, seeing it as a means to visualize unorthodox relations and forms. With its invention of new visual vocabularies, reductive visual art provides a resource for thinking about how bodies and relations can be imagined otherwise. A key theme will be the ways in which artists have responded to surveillance and the politics of visibility, and this talk will examine how abstraction has been used by artists to resist the ways in which the human form is categorized, marked, and stereotyped. The field of art history has a long tradition of debating the human form and its alternatives, and the study of abstract art and its theories can make a unique contribution to interdisciplinary conversations about the politics of queer and transgender representation. David J. Getsy is Goldabelle McComb Finn Distinguished Professor of Art History at the School of the Art Institute of Chicago and the 2020-2021 Terra Foundation Visiting Professor of American Art at the John F. Kennedy Institute for North American Studies of the Freie Universität Berlin. His research focuses on queer and transgender histories of art and performance, and his books include Abstract Bodies: Sixties Sculpture in the Expanded Field of Gender (2015), Rodin: Sex and the Making of Modern Sculpture (2010), and an edited anthology of artists’ writing, Queer (2016)
