D&G and Paintings I
D&G and paintings
11:00am - 11:30am
“Against the organization”. Chaos and creation in Paul Klee and Gilles Deleuze
1University of Santiago, Transdisciplinary Laboratory in Social Practices and Subjectivity” (LaPSoS) University of Chile; 2University of Chile
This paper intends to put a strain on the notion of organization, based on the relations we can establish between Paul Klee’s artistic and theoretic production and Gilles Deleuze’s philosophical work. The encounter between those two authors will allow us to pose a problem in regard to the notion of organization, understood as a device (dispositif) which fixates and reduces the living being to an unchanging and static quality at the level of the configuration of living forms and of the artistic creation. From the understanding of the act of creation as a generative operation of living configurations, we will highlight the chaosmotic trait of creation, that is, the creation as a genetic point of order from chaos. Thus, considering the rejection to any kind of essence and the importance attached by both authors to variation, difference and becoming, we will propose the idea that “every configuration is a deformation”, either in the field of vital genesis as an artistic creation. In consequence, this paper will seek discussing the problem of the organization going beyond its artistic and aesthetic dimensions, addressing its epistemological and political implications.
11:30am - 12:00pm
Painting as Non-territorialities
Gongju National University of Education, Korea, Republic of (South Korea)
This paper aims to clinically investigate the aesthetic aspects of non-territorialities through the process of multi-layered Korean painting called Bunche; the focus is on ‘the plane of immanence’, what Deleuze and Guattari call ‘non-thought within thought’(1994). Deleuze and Guattari mention François Laruelle’s non-philosophical concept of One-all and explain the plane of philosophy in relation to chaos (1994). ‘Non-thought within thought’ is the pre-philosophical ‘amplification of thought’ (Mullarkey, 2012) and a performative thought which must confront and restore chaos to become sensory in the One-all of the plane of immanence (Deleuze and Guattari, 1994). I will explore the concept of non-territorialities through the process of Bunche painting titled Girl with a Shoe (https://filmfreeway.com/projects/846580) which exactly corresponds with Deleuze and Guattari’s concept of the double movement of deterritorialization and reterritorialization. Within the amplification of thought of non-territorialities, territorialities become pre-territorial prior to binary oppositions of territorialities and de-territorialities, and an individual becomes pre-individual singularity prior to consciousness. As stated by Deleuze and Gauattari, “every territory presupposes a prior deterritorialization, or everything happens at the same time” (1994, p.68). As a result, the painting process consists of this repetitive double movement which eventually forms the invisible painting’s depth and multiple layers underneath the surface of the painting which is imperceptible when the audience sees the final stage of painting. According to Deleuze (1994, p. 19), ‘repetition cannot be explained by the form of identity in concepts of representation.’ Therefore, I argue that the painting becomes non-representative and non-territorial multiplicities which is an object of essential encounter and experience rather than an object of interpretation in Deleuze’s aesthetics of sensation.
Deleuze, G. (1994). Difference and Repetition (P. Patton, Trans.). London: Columbia University Press
Deleuze, G., & Guattari, F. (1994). What is Philosophy? (H. Tomlinson & G. Burchell, Trans.). London: Columbia University Press.
Mullarkey, J., & Smith, A. P. (2012). Laruelle and Non-Philosophy: Edinburgh University Press Ltd.
12:00pm - 12:30pm
Inventing What was Missing in Gérôme: Ottoman Art Beyond Imitative Westernization
KU Leuven, Belgium
This paper revisits Différence et Répétition, Mille Plateaux, paintings, sculptures and diaries of the first Ottoman artists, who received their training in École des Beaux-Arts in Paris and created artworks in Western forms for the first time in the Empire, to generate concepts that might guide us through the academic debate revolving around Westernized Ottoman Art and its peculiar relation to Orientalist ways of seeing the world. Vivieros’ Métaphysique Cannibales proves to be an important guide when it comes to articulate complex cultural events in a Deleuzian framework. Edhem Eldem and Nilüfer Göle provide the historico-sociological background of the research.
An Ottoman artist’s co-creation with the world in Western visual language, how could Deleuze aid us in such a matter? The works of such artists appear hauntingly political and more in line with Deleuze’s writings on difference and minor literature rather than the ones on painting. Haremde Goethe, a painting by Abdülmecit Efendi who was the last Caliph of the Ottoman Dynasty, where an odalisque is depicted reading Goethe’s Faust in the seraglio; Osman Hamdi’s La Genèse where a lady is sitting on a Koran lectern like Gérôme’s Tanagra, who was the painter’s master in Paris. Through the encounter of such paintings and Deleuze’s work, we will try articulate in what context those artists might appear as physicians of culture and whether they might help us in approaching critically and clinically the common readings of Ottoman Art which perceives it to be a mere imitation of its Western counterpart.