Without a representation of the operation of the credit system and the knowledge that comes from it, we are limited to sensing debt as simply part of our own experiences, as something natural and determined. In a period in which credit is absorbed into the flow of everyday life, where debt is both everywhere invisible and indeterminate, how can we see capital and map our relation to it?
Even the seeming agency of individual taste becomes an ossified representation of categorized, predictable choices and habits such that, according to class, education, and political leanings, individuals could be predicted to demonstrate affinities for Bach or Brassens, Le Monde or Le Figaro, tennis or football, a tidy or a harmoniously designed home.
Deschenes then begins to build into the logic of each of her photographs a specific quality – scale, frame, posture, and sometimes color. This is what abstraction means, in case we have forgotten: a work of art does not “look abstract” and it “is” not “an abstraction.” A work of art abstracts a specific quality. Sometimes such qualities derive from observation: a subject can be abstracted, but that does not mean that it is rendered blurry or otherwise stylistically abstract.
Photography is—as I hope to demonstrate—radically anti-Cartesian. It shows us that there really is a world, that it wants to be seen by us, and that it exceeds our capacity to know it. Photography also shows us that the world is structured by analogy, and helps us find our place within it….Each of us is connected through similarities that are neither of our making or our choosing to countless other beings. We cannot extricate ourselves from these relationships, because there is no such thing as an individual; the smallest unit of Being is two interlocking terms. There is also nowhere else to go.
Photography helps us to see and to feel what we are but cannot know. Then again, knowing when to trust our feelings—when we feel them to be right and not just ours—is not just a matter of affect, but of assertion, about what we think others could have meant. Not knowing what they could have meant does not mean they did not mean something or that we cannot know it. Properly acknowledging one’s “kin” requires that we risk the public and corrigible claim to understanding what was said.
It will, I want to argue, be hard to describe Owen Kydd’s practice as appealing to the plurality of the medium against Art; on the contrary, it will be better understood as doing just the opposite, as redeploying the idea of the medium precisely on behalf of the idea of Art—and against a pluralism that is not only aesthetic but political.
I do not have this privilege because I have seen the works only on the small screen that, to many of us, is the whole world. These screens in our offices and homes are more isolating than even the whitest of white walls in the most pristine of white cubes. They are much more theater-like than even those small project spaces which resemble theaters—ones in which patrons are constantly walking in late and leaving early—which Kydd presumably meant to reject in favor of placing his works on gallery walls. An increasing number of artists with access to technology and a gallery have made a similar choice.
This brings us back to Jameson and realism. Jameson continues to insist upon the idea of meaninglessness in Zola’s abundant descriptive lists; in referring to the copious description of the cheeses in the shop in Le Ventre de Paris, he speaks of “their veritable liberation from meaning in all their excess.” The pungent cheese passage indeed shows a “delirious multiplicity,” but the cheeses are far from being meaningless or “autonomous.” For what does it mean when it is said that an element of a literary work is meaningless? Can it be true that multiplicity or excess leads to meaninglessness? Or that the moment something exists in the bodily realm, it does not signify?
What needs to be understood about my distance from those debates around affect polemics is that I still believe in the binary opposition, and am in that sense, I guess, some kind of structuralist Hegelian, or better still, that I include Hegel in Marx and structuralism in the dialectic. “Oppositions without positive terms”: such was Saussure’s great formula, his reinvention of the dialectic on a linguistic basis. Concepts do not exist in isolation, they are defined by their opposites: it is a dialectical lesson as well as a structuralist one, and in the best of worlds the latter should lead back to the former, which it reinvents in a new and contemporary way.
Nonsite brings you a special dossier of new translations of Brecht on painting and art including On Painting and the Painter, Critique of Empathy, The Blue Horses, The Worker Who is a Painter, On Chinese Painting, and the Prospectus of the Diderot Society.