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Performance Research A Journal of the Performing Arts ISSN: 1352-8165 (Print) 1469-9990 (Online) Journal homepage: http://www.tandfonline.com/loi/rprs20 The Trump is Present Tony Perucci To cite this article: Tony Perucci (2017) The Trump is Present, Performance Research, 22:3, 127-135, DOI: 10.1080/13528165.2017.1348607 To link to this article: http://dx.doi.org/10.1080/13528165.2017.1348607 Published online: 21 Sep 2017. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rprs20 Download by: [Tony Perucci] Date: 21 September 2017, At: 05:37 The Trump is Present TONY PERUCCI 8 NOVEMBER 2016 YouTube even hosted videos that ‘proved’ THE DAY PERFORMANCE ART DIED Trump’s campaign to be ‘the greatest prank in the history of the world’, ‘the work of a gay On the day of the US presidential election, the scandanavian [sic] performance artist’ or ‘Andy daily literary humour website McSweeney’s Kaufman in disguise’, while one post-election Internet Tendency published a transcript of website announced Marina Abramović ‘to be the the ‘concession speech’ that Donald Trump mastermind behind “Donald Trump”, her most would give that night upon his anticipated controversial art project yet’ (‘mastermind’ 2017). loss to Hillary Clinton. The failed presidential The construct ‘performance art’ expressed the candidate would there reveal the secret that his desire of many not to believe in the actuality and election campaign – and even his entire life – resilience of Trump’s campaign, characterized by had actually been a work of performance art. outrageous and offensive statements, willingness (Over chants of ‘Donald!’ and ‘Lock her up!’ Trump to encourage white nationalism and violence pauses to smile and hold up his hand). and boasting about sexual assault, let alone I, Donald Trump, hereby concede … the his fantastical policy proposals. That Trump’s impossibility of meaning in the context of campaign – and now, presidency – could be for intertextual hegemony. Who’s with me? real has often simply seemed too impossible to (Awkward silence, murmurs of confusion.) believe. ‘Performance art’ emerged as a way to … discount this reality by proposing an alternative fiction: that his campaign, itself, was a fiction. When I was five years old, my father took me aside The last time performance art was so prevelant and explained that everything he had – his riches, in American political discourse, it was in context his power, his influence – it could all be mine. But on one condition: I was to privately commit of North Carolina Senator Jesse Helms and other Downloaded by [Tony Perucci] at 05:37 21 September 2017 1 my life to philosophy, feminism, and postmodern Republicans’ attacks on the NEA Four , the 1 Karen Finley, Tim Miller, critiques of American culture. But only in private. performance artists whose National Endowment John Fleck and Holly Hughes. Publicly, I was to cultivate a persona of an entitled, for the Arts (NEA) grants were vetoed in 1990 for narcissistic demagogue, formed as a decades-long their ‘immorality’. With images of Finley and her act of performance art that reflected our nation’s yams dancing in our heads, the very idea of grotesque sublimation of its own basest desires. referring to a Republican US presidential campaign Once I reached the apex of this performance, my as ‘performance art’ seems preposterous. father said, I must leverage the full attention of the Certainly, American electoral campaigns have electorate to once and for all let the veil be lifted. long been derided as ‘theatre’, campaign events as Now is that time. (Richards 2016) ‘spectacles’ and even acts of governance as ‘kabuki The contention that Trump’s campaign could theatre’. The rise of the celebrity politician from be a work of fiction – a hoax, a pseudo-event, Ronald Reagan onward dissolved the boundary a calculated PR stunt – pervaded mainstream between politics and entertainment, exemplifying news sources, the Internet and social media capitalism’s triumph of spectacle and simulation during the 2016 presidential campaign. as theorized most famously by Guy Debord and PERFORMANCE RESEARCH 22·3 : pp.127-135 ISSN 1352-8165 print/1469-9990 online 127 http://dx.doi.org/10.1080/13528165.2017.1348607 © 2017 Informa UK Limited, trading as Taylor & Francis Group PR 22.3 On Proximity.indd 127 30/08/2017 14:05 Jean Baudrillard. But with performance art’s long Abramović in discourses of belief: the conspiracy legacy of demonization by the Right, that even theory Pizzagate and the faux documentary film The Wall Street Journal would seek to describe trailer The Nominee. Trump as a performance artist is nearly as hard to believe as his election (Henninger 2016). However, MIND THE AESTHETIC GAP a demonstrable shift in the popular understanding ( FROM POPULIST PERFORMANCE ARTIST of the term ‘performance art’ has occurred in TO BULLSHIT ARTIST AND BACK) recent years – away from the moral hazard that the religious Right had so successfully cast it as in Walter Benjamin posed fascism’s threat as, the 1980s, to a merging of celebrity and art to fundamentally, a representational crisis, in form what the pop star and Marina Abramović that the aestheticization of politics enabled acolyte Lady Gaga terms ‘pop performance art’ society to ‘experience its own destruction as an (Auslander 2016: 182). Largely due to Abramović’s aesthetic pleasure of the first order’ (1968: 248). adoption of the once unimaginable role of Trumpism’s destructive march emerges from ‘celebrity performance artist’, as well as her what may be called the aesthetic pleasures of packaging of ‘presence’ as a commodity, the second order. In the contemporary context ‘performance art’ has come to signify the artistic of neoliberal capitalism, this second order of hoaxes staged by such celebrities as James Franco, aesthetic pleasure, I suggest, is to be taken in the Shia LeBeouf and Joaquin Phoenix. Nonetheless, ‘pseudo-aura’: the more proximate reality of the as Philip Auslander says of Lady Gaga’s coinage of spectacle, which complements and compensates ‘pop performance art’, describing a major for what Benjamin calls the ‘cult value’ of presidential candidate as a performance artist aura’s ‘distance’ (1968: 222). In response to ‘would be impossible if it weren’t formulated the loss of that distance, neoliberalism offers today’ (2016: 184). pseudo-auratic closeness, fulfilling what Debord While the anti-theatrical trope of deriding describes as the spectacle’s function as ‘a a politician’s ‘acting’ maintains the stability shared acknowledgement of loss, an imaginary of the symbolic economy of representation, compensation’ (1994: 20). the figure of Trump-as-performance-artist Fantasy though the ‘realness’ of represents a fundamental conceptual shift. @realDonaldTrump may be, the suffering it It expresses the crisis of representation has already effected and the global danger it that Baudrillard describes as the collapse of portends are horribly real. While some critics belief in the ‘reality principle’ precipitated by in the press have turned to Debord to explain capitalism (Baudrillard 1994). With the loss Trumpism as a triumph of image over reality, Downloaded by [Tony Perucci] at 05:37 21 September 2017 of belief in the symbolic economies of both what is perhaps even more critical to reckoning representation and representative democracy, with Trump’s success is Debord’s description ‘performance art’ promises to circumvent both of the spectacle’s logic of authoritarianism: political and symbolic distance in each of the ‘the ruling order discourses on itself in an seemingly incongruous worlds of the celebrity uninterrupted monologue of self-praise’ to politician’s claims to ‘@realDonaldTrump’ and support ‘the age of power’s totalitarian rule the performance artist celebrity’s claims to over the conditions of existence’ (Zaretzky ‘raw presence’. In what follows, I theorize the 2017; Debord 1994: 19). Donald Trump’s quite relationship between reactionary populism and literal ‘uninterrupted monologues of self- celebrity performance art in terms of what I call praise’ dispense with even the proximity of the neoliberalism’s compensatory ‘pseudo-aura’, pseudo-aura by offering, instead, the aesthetic whose inadequacies produce the conditions for pleasure of a politician expressing openly and both populism’s and performance art’s claims to explicitly the raced, gendered and brutal truth unmediated reality. I then turn to two cases that of neoliberalism. In his willingness to speak to entwine the figures of Donald Trump and Marina the reality that neoliberal capitalism follows 128 PERFORMANCE RESEARCH 22·3 : ON PROXIMITY PR 22.3 On Proximity.indd 128 30/08/2017 14:05 the exploitative and exclusionary logic of through the direct and unmediated relation to plutocracy, Jodi Dean contends that Trump is ‘the people’. However, Trump’s performance, ‘the most honest candidate in American politics like that of other populist leaders, is no more today’ (2015). Unlike the mystifications uttered able to evade its condition as a representation by neoliberal centrists, Trump expresses the than is performance art. Drawing on Derrida’s fundamental ethos of capitalism: ‘Those with theorization of the performative, Joseph Arditi money win. Those without it lose. Winners get to argues that populist performance cannot fulfil do whatever they want. Losers get done to’ (ibid.). its promise of direct presence of ‘the people’ but Trump’s campaign adopted the style of rather depends upon acts of ‘rendering-present’ contemporary populism to redirect widespread that not only signify ‘the people’ but also produce frustration with neoliberalism’s failures them (2007: 64). This presence is but another into anger towards ‘elites’ and racialized ‘effect of representation’, an ‘absent presence’ Others. Hillary Clinton, meanwhile, promised that the populist leader alleges can resolve the a continuation of the neoliberal order initiated problematic distance of political representation’s by Thatcher and Reagan and continued by aesthetic gap by eliminating it altogether (64–5).