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After Transgression: Ethico-Aesthetic Paradigms of Contemporary Art

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After Transgression: Ethico-Aesthetic Paradigms of Contemporary Art After Transgression: Ethico-Aesthetic Paradigms of Contemporary Art Theodore Reeves-Evison | PhD Thesis Centre for Cultural Studies, Goldsmiths College, University of London June 2015 1 Declaration of Authorship I, Theodore Reeves-Evison, declare that this thesis is submitted to Goldsmiths, University of London in support of my application for the degree of Doctor of Philosophy. It has been composed by myself and has not been submitted in any previous application for any degree. This thesis and the work presented in it are my own and have been generated by me as the result of my own original research. I confirm that: 1. This work was done wholly while in candidature for a research degree at this University; 2. Where any part of this thesis has previously been submitted for a degree or any other qualification at this University or any other institution, this has been clearly stated; 3. Where I have consulted the published work of others, this is always clearly attributed; 4. Where I have quoted from the work of others, the source is always given. With the exception of such quotations, this thesis is entirely my own work; 5. I have acknowledged all main sources of help; 6. Where the thesis is based on work done by myself jointly with others, I have made clear exactly what was done by others and what I have contributed myself; 7. Some parts of this work have been published as: Theo Reeves-Evison, 'Rogues, Rumours and Giants: Some Examples of Deception and Fabulation in Contemporary Art', Parallax, 21:2 (2015), 196-212. Theodore Reeves-Evison June 2015 2 Acknowledgements This project has benefitted from the generous support of many people. I am grateful to the Arts and Humanities Research Council for financing the project through a PhD scholarship. Thanks go to my parents for their support, especially during the early stages of the project. Time and advice were given with patience and generosity by Matthew Fuller and Simon O’Sullivan, who expertly supervised the project through to completion, and by Dave Boothroyd, whose comments at a crucial point in its development proved invaluable. I would like to thank Kader Attia, Dora Garcia, Pilvi Takala, and Amina Menia for the inspiration their artworks provided, and for supplying crucial details relating to them. Conversations with various people I met and spoke with at Goldsmiths, as well numerous conferences, reading groups and research seminars, reminded me that research is always to some extent a collaborative enterprise. A special thanks goes to my partner Alison, whose intellectual and emotional companionship made this project a pleasure to undertake, and our unborn daughter for providing added impetus to finish it in a timely fashion. 3 Abstract This thesis investigates the relationship between ethics and aesthetics by analysing several artworks produced over the last fifty years. It argues that ethics and aesthetics relate to one another in historically specific ways, and that artworks represent a privileged point of access for seeing how this relationship forms and changes. I show that within this period it is possible to discern the rise and fall of a paradigmatic bond between ethics and aesthetics articulated around the concept of transgression. The paradigm of transgression has, I argue, suffered a historical decline in a range of contexts. The theoretical resources used to navigate through this decline are drawn from the work of Jacques Lacan and Félix Guattari, among others. Lacan’s work in particular is marked by a shift away from transgression that parallels the move within art. After focusing on figures such as Sade and Antigone in the early 1960s, a decade later Lacan turns to the work of James Joyce in order to reformulate the psychoanalytic concept of the symptom as ‘sinthome’. This concept shifts the ethical accent away from transgression towards creativity, and can be pushed in new directions by drawing on the work of Guattari. More than just a curious symmetry, the shift away from transgression in both art and theory occurs in response to a larger set of social changes in the function of language and prohibition. I conclude that the historical decline of such Symbolic forms makes a new relationship between ethics and aesthetics possible. The marriage between the two, I argue, can be brokered through their mutual participation in the production of subjectivity. The argument culminates by suggesting directions, in the form of the concepts of ‘repair’ and ‘fabulation’, along which this new ethico-aesthetic paradigm might develop. 4 Table of Contents Introduction ................................................................................................................ 9 Ethics beyond Morality .................................................................................. 12 Aesthetics beyond Beauty .............................................................................. 16 A Postscript to Transgression ......................................................................... 19 A Preface to the Sinthome .............................................................................. 22 Part 1: Transgression ............................................................................................... 26 Chapter 1. Transgression: The Dialectical and the Liminal ................................ 27 The Dialectics of Transgression ..................................................................... 28 A Tragic Fracture ........................................................................................... 32 Transgression at the Limits of Language ....................................................... 34 Anamorphic Actions ...................................................................................... 38 Actionism without a Cause ............................................................................ 44 Chapter 2. From Inversion to Disorientation ........................................................ 52 A Thrust for Life ............................................................................................ 53 Inversion without Reprieve ............................................................................ 54 Kant Upside Down ......................................................................................... 59 An Introduction to Disorientation .................................................................. 65 Motion Sickness: on the Work of Paul McCarthy ......................................... 67 Commanded Enjoyment ................................................................................. 74 From the Discourse of the Master to the Discourse of Capitalism ................ 77 Pushing at an Open Door ............................................................................... 81 Chapter 3. Programmes for Life ............................................................................. 84 Open Forms, Closed Forms ............................................................................ 89 A Servant with Two Masters .......................................................................... 96 The Transition to Capitalism and the Decline in Symbolic Efficiency ........ 100 Three Games ................................................................................................ 104 Viruses, Algorithms, Programmes ............................................................... 107 Part 2: After Transgression ................................................................................... 112 Chapter 4. Towards an Ethics of the Sinthome ................................................... 113 Ordinary Psychosis ....................................................................................... 114 5 Borromean Knots ......................................................................................... 118 Joyce the Sinthome ....................................................................................... 112 A Guattarian Graft ........................................................................................ 129 The Production of Subjectivity .................................................................... 131 Cracking the A-Signifying Kernel ............................................................... 137 Sidestepping the Steamroller ........................................................................ 147 Chapter 5. Ethico-Aesthetic Repairs .................................................................... 151 Introduction to the Work of Kader Attia ...................................................... 152 Space, Time, and the Repair ......................................................................... 158 Defining Repair ............................................................................................ 163 Sinthomatic Repairs ..................................................................................... 168 The Existential Pragmatics of Repair ........................................................... 173 I Repair, You Repair, We Repair ................................................................. 175 Chapter 6. Experiments with Truth ..................................................................... 177 From Intention to Effect ............................................................................... 179 Lying to Liars ............................................................................................... 185 Intimate Percussion ...................................................................................... 190
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