Beruflich Dokumente
Kultur Dokumente
May,
Edited by
Doru POP
ISBN 978-606-561-148-1
Accent, 2015
Cluj-Napoca
www.accentpublisher.ro
Provocation as Art. Scandal, Shock and Sexuality in Contemporary Cinema and Visual Culture
Contributors
of the Provocation as Art. Scandal, Shock and
Sexuality in Contemporary Cinema and Visual Culture,
2nd Ekphrasis Conference in Cinema and Visual Culture,
- May
, abe;-olyai University,
The Faculty of Theatre and Television, Cluj-Napoca
teatrutv.ubbcluj.ro/conferences/provocation
VRM, Horea
Babe-Bolyai University, Cluj Romania
horea.avram@ubbcluj.ro
Horea Avram teaches at the Department of Cinema and Media, Faculty of Theatre
and Television, abe-olyai University, Cluj, Romania. Doctoral studies in rt History
and Communication Studies at McGill University, Montreal. He researches and writes
about new media art, representation theory, technology, performance and visual
culture. His most recent publications include ugmented Reality , Encyclopedia of
esthetics, Oxford and New York Oxford University Press,
The Visual Regime
of ugmented Space , in Theorizing Visual Studies Writing Through the Discipline,
James Elkins ed. , New York Routledge,
. He publishes essays in M/C Media and
Culture Journal, International Journal of rts and Technology, Kinephanos, Ekphrasis,
Idea. rt + Society, rta, etc. Independent curator since
. He has curated most
notably for Venice iennale in
.
OTNICK-MZUR, Elbieta
Institute of rt History
The John Paul II Catholic University of Lublin Poland
elamazur@kul.lublin.pl
Elbieta Botnicka-Mazur is Director of the Department of Modern and Contemporary rt History, The John Paul II Catholic University of Lublin, Poland. She completed
her PhD in
, supervised by prof. Lechosaw Lameski, with the thesis ohdan
Kelles- Krauze
midzy profesj i pasj. ycie i twrczo zapomnianego
lubelskiego architekta i malarza eng. ohdan Kelles-Krauze
etween
Profession and Passion. Life and Work of the Forgotten Lublin rchitect and Painter
published as a monograph
. She also published a complete catalogue of
Contributors
Provocation as Art. Scandal, Shock and Sexuality in Contemporary Cinema and Visual Culture
for Cultural Studies. Her research interests include Polish art, especially in Gdansk,
Sopot and Gdynia Tri-city , history of Polish art press after World War II. She is the
author of the books The Permeation the Idea of Informel and the Polish Press of the
s and
s, Gdansk University of Gdansk Press,
and Wiktor Tokin The
Sculptor. The Monograph, Warsaw Neriton,
.
LCROIX, Claude
Bishops University, Sherbrooke Canada
clacroix@ubishops.ca
Claude Lacroix is ssociate Professor and Chair, rt History and Theory Program
ishops University, Sherbrooke, Canada. Claude Lacroix earned his .. Honours
in Visual rts from the University of Ottawa, his Masters in rt History/Fine rts
from the Universit de Montral and his Ph.D. in rt History and Theory from the
cole des Hautes tudes en Sciences Sociales, Paris, where he held a SSHRC Doctoral
scholarship. Claude Lacroix has a broad range of teaching and research interests,
particularly on modern and contemporary art. His recent research examines how
diverse representations of the human body in the visual arts cross borders between a
real and an imaginary identity, especially when they deviate from artistic norms.
NE, ndrei
University of Bucharest Romania
andrei_nae@yahoo.de
Andrei Nae holds a English and German from University of ucharest and a
M in ritish Cultural Studies after an Erasmus Fellowship at Salzburg University. He
is currently a PhD candidate at the Doctoral School of Literary Studies, University of
ucharest.
PVEL, Laura
Babe-Bolyai University, Cluj Romania
laura.pavel@ubbcluj.ro
Laura Pavel is literary essayist and drama theory scholar, Professor at the Faculty
of Theatre and Television of abe-olyai University, where she teaches theatre history
and anthropology of performance. Since
, she is the Director of the PhD Program
in Theatre Studies at the abe-olyai University. She is the author, among other
publications, of Dumitru Tsepeneag and the Canon of lternative Literature, translated
by listair Ian lyth, Champaign & Dublin & London, Dalkey rchive Press,
and
of Theatre and Identity. Interpretations on the Inner Stage Cluj,
. She co-authored
several collective volumes. Her monographical essay Ionesco. nti-lumea unui sceptic
[Ionesco. The nti-World of a Skeptic],
, translated into Italian by Maria Luisa
Lombardo, is to be published by racne Editrice, Rome, in
.
Contributors
POENR, Horea
Babe-Bolyai University, Cluj Romania
horea.poenar@ubbcluj.ro
Horea Poenar is ssociate Professor at the Faculty of Letters, abe-olyai University, Cluj-Napoca. He teaches courses on Literary and Cultural Theory, esthetics,
Ethics of Community, Ethics of Images and The History of the Novel. He has published
extensively on these topics and other related subjects in various publications. His
doctoral thesis is a study on the concepts of phenomenological aesthetics. He was the
director of Echinox cultural journal between
and
. Since
, he is the host of
cultural TV programs on the Romanian National Television.
POP, Doru
Babe-Bolyai University, Cluj Romania
doru.pop@ubbcluj.ro
Doru Pop is professor at the Faculty of Theatre and Television, abe-olyai
University in Cluj in Romania, where he researches visual culture, cinema and media
studies. He has an M in journalism and mass communication from the University
of North Carolina at Chapel Hill and a PhD in the philosophy of visual culture from
abe;-olyai University. In
he was a Fulbright fellow at ard College, New York,
where he taught a course on the Romanian recent cinema. He is the editor in chief of the
Ekphrasis academic journal. His most recent book is Romanian New Wave Cinema n
Introduction McFarland & Company,
.
URS, Mihaela
Babe-Bolyai University, Cluj Romania
mihaela.ursa@ubbcluj.ro
Mihaela Ursa is ssociate Professor at the Faculty of Letters, abe-olyai
University, Head of the Comparative Literature Department. She teaches comparative
literature and authored seven books in Romanian language on comparatism, critical
theory, fictionality, gender studies, and erotic literature. Co-author of several collective
volumes, with more than
articles, studies, reviews, essays published on cultural
studies, literary theory and criticism. Most recent research stages in Caen, Rome,
ard College New York . She was awarded prizes for her books by The Romanian
ssociation of Comparative Literature and The Romanian ssociation of Writers.
Member in peer review boards Caietele Echinox, Philobiblon, Ekphrasis - Cluj .
VIRGINS, ndrea
Sapientia Hungarian University, Cluj Romania
avirginas@gmail.com
Andrea Virgins is lecturer at the Dept. of Film, Photography, and Media, Sapientia
Hungarian University of Transylvania, Cluj-Napoca, Romania http //film.sapientia.
Provocation as Art. Scandal, Shock and Sexuality in Contemporary Cinema and Visual Culture
10
Contributors
Provocation as Art. Scandal, Shock and Sexuality in Contemporary Cinema and Visual Culture
Contents
Doru POP
Introduction: From Art as Provocation to Provocation as Art
Claude LCROIX
Andres Serranos Piss Christ,
Christian Conservatives Protests and Court Actions
Laura PVEL
Beyond Artistic Aura Visuality and Aesthetic Ideology
Elbieta OTNICK-MZUR
51
81
Stelarc After Van Gogh. Body in Excess and A Happy New Ear
Olivia GRECE
89
112
11
12
Contributors
ndrea VIRGINS
The burden of the real in Eastern European and Scandinavian
genre ilms: knitwear, dancing bodies, and endoscopy
ndrei NE
Representations of the Monstrous Feminine in the F.E.A.R. Trilogy
Delia ENYEDI
Clothing for Nudity: Sexual Practices as Discourse
in Contemporary Fashion Advertising
Mihaela URS
Challenges of Teaching Love Studies. Scandal in the Academia
Laura PAVEL
Abstract. The paper focuses on some of the inluential contemporary aesthetic debates which revolve
around the ethical and the political effects of reception. The analysis will center on a few scandalous
artworks, most of them portraying political igures or ideological tableaux, in an attempt to discover how
their artistic aura is either reclaimed or devalued. The paintings of contemporary Romanian artists
such as Adrian Ghenie and Marius Bercea could be considered self-relexive artworks, relevant for a
parodic mode of demolishing certain identity myths, but also for an auratic reassessment of those
myths and values. Theories and politically performative paintings, artistic and ideological mythologies
enter into dialogue and thus reveal their aesthetic and political irreverence and liveness.
Keywords: aura and post-auratic aesthetics, politicization of aesthetics, Marius Bercea, Adrian Ghenie,
iconophilia, Bruno Latour, performativity of painting.
38
Laura PAVEL
nism, Ghenie confesses to his constant obsession with the monstrous ideologies
of Nazism and Communism. When speaking of how he found inspiration for his
Pie Fight series in slapstick comedies, the artist ataches to the blurred and disigured faces in his paintings a surprising, demystifying psychological interpretation, which underlies his view of the twentieth century s often sinister history
of dictatorships. The burlesque pie ights from black-and-white movies with the
Three Stooges and Laurel and Hardy are turned into painted stills which convey
a dramatic gesture of humiliation and even terror: It s also about humiliation ,
Ghenie explains, which is a very strange ritual in the human species and still one
of the most important features of a dictatorship , since humiliating people means
exerting a form of terror on them. The inluence of painter Francis acon s distorted igures is not only acknowledged by Ghenie, but it is also originally recontextualized and oriented towards new ideological and historical signiicances. In
this respect, The Trial evoking the grotesque trial of the two Ceauescus, which
was broadcast live on television on Christmas Eve in
and Dr. Mengele, the
portrait of the Holocaust physician and torturer Josef Mengele, are among the
relevant artworks in which ominous igures, with scraped away features, stand
for decomposing historical masks, apparently alive and still haunting the present viewers.
They seem to invade the space of the painting, in the same way in which
Pirandellian characters impose themselves on the mental stage of their author. The
communist leaders phantasmal faces arise from beyond the canvas surface and
acquire pictorial materiality, as the embodied metaphors of a traumatized collective unconscious.
40
Laura PAVEL
Adrian Ghenie, Pie Fight Interior 8, 2012. Oil on canvas, 301 x 280,7 cm
Courtesy Pace Gallery
Photographer: Adrian Ghenie
Private Collection, New York
past, infested by the political utopia, blends with apparently serene and mythologized memories. There is an evident and therefore parodic dystopia to be discovered, as it is constructed in ercea s painted objects and architectures. The relevant examples here would be Elegant Rationalism and Fraternity Arches.
The dystopian quality evoking works that belong to the Russian so-called sots
art of his ictional architectural setings points to the reinvention of a lost or perhaps never really possessed psycho-social space. n artiicially constructed urban landscape, such as the one in Truths with Multiple Masks
, conceals a historical and geographical void.
This is illed only by the painter s and the viewer s emotional ambivalent input, divided between the authoritative assertion of visuality and the right to look
Mirzoef
, - , to claim autonomy from superimposed visuality.5
ll of these paintings enact sometimes a melancholic and, at other times, a parodic vision of political igures, conjugated with ideological landscapes and
myths, as well as with a subjective, emotional way of iltering such myths in the
composition of a personal and communal identity. Symptomatically, in Ghenie s
works artistic intentionality is embedded in the projection of clichd political characters as it is sometimes also the case with the paintings of Luc Tuymans or of
marionete-like protagonists, in ercea s paintings, set in utopian spaces. Marius
ercea s decaying setings are inhabited by anonymous silhouetes or puppets, as
42
Laura PAVEL
Marius Bercea, Truths With Multiple Masks, 2011. Oil on canvas, 280 x 385 cm / (110 x 151 in)
Image courtesy of the Artist and Blain|Southern
Photographer: Peter Mallet, 2011
in Untitled Swimming Pool , devoid of liveness and actual identity, as some kind
of objectiied or even mortiied selves. The mummies, marionetes or fallen statues
in his Truths with Multiple Masks resemble Tadeusz Kantor s use of mannequins,
those dead counterparts of the actors in his famous performance The Dead Class.
For drian Ghenie, to critically deconstruct and reconstruct a much too subjective understanding of the past is to actually grasp, in his paintings, the texture
of history . The dysmorphic igures paradoxically allow access to this luctuating
and often misleading texture . When asked why he has chosen the igures of dictators as his characters, he argues that they have a much more clichd, stereotypical nature and have therefore entered the collective consciousness and the common visual reservoir.
The paradoxical, blurred portraits painted by Ghenie or ercea s postcommunist urban landscapes seem to represent a void, or an imponderable entity, the
mere political essence that inhabits an apparently empty space of the non-image, of the Other. Moreover, by way of the use of colors, composition and a dense
pictorial mater, the paintings embody a mutual relection between an imagological stereotype and an archetypal image. The mental matrix of the self is seen
through a mythological, albeit quotidian and derisive, historically determined alterity, perceived as a ulgakovian other , in Ghenie s The Devil
. This way,
set against the authoritarian modes of controlling visuality, the cultural clich is
parodied, denounced and then assumed. s such, it gains visual substance and a
sort of strange and ethically problematic aura.
44
Laura PAVEL
Adrian Ghenie, Nickelodeon, 2008. Oil and acrylic on canvas, 230 x 420 cm
Courtesy of the artist
Photographer: Adrian Ghenie
Marius Bercea, Untitled (swimming pool), 2011. Oil on canvas, 52 x 52 cm / (20 x 20 in)
Image courtesy of the Artist and Blain|Southern
Photographer: Peter Mallet, 2011
Private Collection
the same compositions. The inner dramatic substance of the paintings lies not only
in the psychological and ideological consistence of the subject mater. It has to do,
to a great extent, with the exposition of the pictorial process as if it were an open
performance, happening before the viewer s eyes. The sometimes unpredictable
nature of his paintings is actually recognized by Ghenie himself, who thus enthusiastically takes on something of the emancipatory statement of a performance artist. Instead of a brush, he resorts to a palete knife and to stencils, emphasizing the
spontaneous, even accidental character of his art-making: Something is applied
to the surface which can destroy the surface, but if it doesn t destroy it turns it into
something good. Fifty-ifty. It s a Russian roulete moment. 8
t other times, both drian Ghenie and his critics insist on the apparently cinematic quality of his artworks. Indeed, the expanded paintings aim to provoke catharsis by a seemingly immersive experience into a sort of pictorial vortex. Still,
Ghenie paradoxically claims that, by exposing a still of the otherwise rapid low of
narrative visuality, one that could have been turned into a whole ilm, painting really enables the viewer to gaze upon the most dramatic and surprising details of a
composition. seminal cinematic sequence is Duchamps Funeral I
, in which
the artist stages the funeral of the father of conceptual art. Near the coin, there is
the somehow ironical element of surveillance and spectacle, in the image of a camera held by some anonymous hand that is ilming the show of the funeral and,
maybe, the viewers themselves. The self-referential painting comprises stereotypical images which evoke the pompous state funerals of dictatorial leaders. cyn-
46
Laura PAVEL
Adrian Ghenie, Duchamps Funeral I, 2009. Oil and acrylic on canvas, 200 x 300 cm
Courtesy the artist and Galerie Judin, Berlin
Photographer: Adrian Ghenie
Private Collection, Switzerland
ical and tragicomic parallel is drawn between the ideological ghosts that haunt
art and politics alike. The dead Duchamp also invoked by Ghenie in his famous
work Dada is Dead is a living metaphor, calling to mind the image of the corpse
from the ilm Repentance, by Georgian director Tengiz buladze. Once buried, it
reappears, with ludicrous fatality, over and over again.
nalyzing the possibility of a migration of the aura between the original artwork and its reproductions, runo Latour and dam Lowe reveal the performative potential of painting, namely its capacity to preserve or even to reconstruct
an aura throughout the history of its public exposition. In spite of the common assumption that painting, architecture, sculpture, and art objects in general would
possess in themselves a stubborn persistence to keep their aura inseparable from
the original, the two authors contend that the diference between performance arts
and the other arts is not as dramatic as it might appear: For paintings, too, existence precedes essence. To have a continuing substance they need to be able to
subsist Latour and Lowe,
,
. Their life is a continuous process of becoming what beholders expect them to represent or to stand for. They have to be
reframed, restored and reinterpreted by critics, curators and viewers, who atach
diverse narratives and meanings to them. Hence, a certain degree of reproducibility, be it a minimum one, is needed in order for the paintings to survive the odyssey of their exhibition.
ctually, drian Ghenie testiies to the visceral character of his painting, which
depends, he thinks, on the artist s corporeal posture, on a physical interaction with
Marius Bercea, Sunset of Joy, 2012. Oil on canvas, 150 x 200 cm / (59 x 78 in)
Image courtesy of the Artist and Blain|Southern
Photographer: Matthew Hollow, 2012
Private Collection
the canvas and with the initially inert, decomposed color. The painter s bodily impulses and the luctuating states of mind bring along a transformative dynamics. The performativity of an apparently passive artistic medium such as painting
is rooted, as Ghenie explains in his conversation with critic Luiza Vasiliu Ghenie
, in a sort of rownian motion of the painter s moods, rather than in a
pre-established pictorial scenario.
In order to beter analyze the surprising performativity of the painting, its visceral relation to the painter and its vivid interpellation of the viewer, an adequate
hermeneutic atitude would probably be what runo Latour calls iconophilia.
What does it mean, for Latour, to follow the path of iconophilia, distinct either from
that of idolatry, or from that of iconoclastic standpoints? The iconophilic atitude
implies the respect not for the image itself but for the movement of the image, so
that the interpretative gaze should be focused on the series of transformations for
which each image is only a provisional frame . Latour
,
. The analysis of
images in art, as well as in science and in religion, would then beneit from such an
interdisciplinary, balanced anthropological perspective. The interpretative angle
of critical theory, which politically informs the ield of today s aesthetics, should
probably be joined by an iconophilic view, in runo Latour s sense, upon artworks and artistic creativity, whereby an integrative hermeneutic approach can be
conceived.
Such a balanced hermeneutic is most appropriate for grasping the oxymoronic quality of Marius ercea s paintings, which encode both utopian or dystopian
48
Laura PAVEL
ideology and domestic, communitarian emotions and daily rituals. ercea displays
a nuanced painterly power to represent the subtle ilters of subjective and communitarian memory. Thus, his works can be read mostly in terms of the evocative
power they exert on the viewer, rather than through the lens of their performative dynamic impact. ercea s socialist and post-socialist urban setings are illed
with imposing albeit dilapidated buildings and apparently familiar citizen igures,
who seem to be passively waiting for silent catastrophes to occur. The frail, anonymous silhouetes in Untitled Swimming Pool , or the strangely vivid ediice and
the dummy-like igures in Sunset of Joy allude to both the cold, titanic sterility of
decaying, evanescing utopia and to the core identity of septic, organic medium of
painting Iacob
.
If we are to accept that the visible is only the freeze-frame of a process of transformation that remains extremely diicult to grasp, a proper form of invisibility
Latour
,
, an iconophilic atitude would enable the art critic to grasp the
sinuous, often conlictual process that goes on beyond the image. It would help
the analyst to observe the reversible and unpredictable, therefore performative relation between artwork, which comes to occupy a subject position, and its context
of appearance and that of its reception. Or between its self-contained status, its resistance to being abusively appropriated, on the one hand, and its openness, on
the other hand, to being exposed, ininitely interpreted, inserted within a whole
chain of historical transformations.
*
The viewer s position towards the igures of an often disturbing past is inscribed and enacted in the dynamic subject mater of these paintings, which speaks
for a continuously present and live process of sharing communal obsessions, identity myths and psycho-historical complexes. The parodic texture of Ghenie s defaced portraits and the disenchantment provoked by ercea s artiicial, decaying
architectural images mark a paradoxical destruction, cleansing and reenactment
of aura, by a double gesture: one of simultaneously detaching from and indulging
in identity clichs and communitarian mythology. This ambivalent atitude is followed by an imaginary and somehow cathartic suturing of the gap between past
and present. The atempt to revalue such communitarian myths is made possible
by self-referential and critical narratives of projection into the heroic or antiheroic igures, psychosocial ghosts and complexes that, once acknowledged, can be
temporarily healed .
Situated at a crossroads of aesthetic thinking, artworks such as Ghenie s The
Pie Fight series and Duchamps Funeral I and II , or ercea s Sunset of Joy and Truths
with Multiple Masks are signiicant for an oscillation and even for a complementar-
ity: the in-between of aestheticized politics the aesthetic adjustment and interpretation of political operations and politicized aesthetics, the unravelling of the inherent and often overtly political life of art forms.
Endnotes
enjamin circumscribes the concept of an artwork s aura by comparing it with the aura
of natural phenomena, when gazed upon from a certain distance: The concept of aura
which was proposed above with reference to historical objects may usefully be illustrated with reference to the aura of natural ones. We deine the aura of the later as the
unique phenomenon of a distance, however close it may be. See, in this respect, Walter enjamin, The Work of rt in the ge of Mechanical Reproduction . Illuminations,
trans. by Harry Zohn, New York: Schocken ooks,
, p.
.
ccording to Groys, the forms of art documentation, such as installations, are proofs
that the diference between originals and copies is no more than a topological and situational one. Once set within an installation, the copy can acquire the aura of the actual
living, historical artwork, reaching the status of an original. This is how modernity enacts a complex play of removing from sites and placing in new sites, of deterritorialization and reterritorialization, of removing aura and restoring aura. See oris Groys, Art
Power. Cambridge, M & London: The MIT Press,
, p. .
drian Ghenie b.
and Marius ercea b.
along with other representatives of the so-called Cluj School of Painting, such as Victor Man and erban Savu are
among the most renowned artists on today s art scene.
Ghenie quoted in Rachel Wolf, IN THE STUDIO: Romanian Painter drian Ghenie s
Sinister Mythology. Art+Auction, March
.
s it is understood by the visual culture theorist Nicholas Mirzoef, visuality involves
an ideological way of seeing.
The renowned visual artist Luc Tuymans recreates, in his portrait of politician Jean-Marie Dedecker, entitled A Belgian Politician
, a paradoxical aura, by way of using the
translucent tones, around the protagonist s face. The aura is intrinsic to the portrait on
account of which the elgian painter has been surprisingly accused of plagiarizing a
photo of Dedecker taken by a journalist , in spite of the appropriationist and apparently parodic character of Tuymans s artwork.
See his opinions about the need to resort to accessible subjects, taken from a collective
cultural background, in Metoda mea e administrarea eecului [ My method is the
proper management of failure ], interview with drian Ghenie, by Luiza Vasiliu, in
Dilema veche, no.
, March - ,
.
Ghenie welcomes spontaneity and creative accidents in the painting process, in his conversation with Karen Wright. See drian Ghenie, painter: You cannot paint this with
a brush. It s simply the result of an accident . Interview by Karen Wright, The Independent, June ,
.
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1.
50
Laura PAVEL
Fral, Josete, Foreword . SubStance. A Review of Theory and Literary Criticism. Guest
editor: Josete Fral. Issues & , Vol. , Nos. & ,
.
3. Groys, oris. Art Power. Cambridge, M & London: The MIT Press,
.
4. Groys, oris. The Total Art of Stalinism. Avant-Garde, Aesthetic Dictatorship, and
Beyond, trans. from German by Charles Rougle. London & New York: Verso,
.
5. Iacob, ogdan. Marius ercea at lain Southern , at htps://iacobbogdan.wordpress.com/
/ / /marius-bercea-at-blain-southern/, consulted on November ,
.
6. Latour, runo. How to be Iconophilic in rt, Science, and Religion? , in Jones,
Caroline ., and Peter Louis Galison eds. , Picturing Science, Producing Art. London:
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.
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13. Vasiliu, Luiza. Metoda mea e administrarea eecului [ My method is the proper
management of failure ], interview with drian Ghenie, Dilema veche, no.
,
March - ,
.
14. Wolff, Rachel. IN THE STUDIO: Romanian Painter drian Ghenie s Sinister
Mythology , Art+Auction, March
.
15. Wright, Karen. drian Ghenie, painter: You cannot paint this with a brush. It s
simply the result of an accident , The Independent, June ,
.
2.