In this paper: -From aesthetics to abstract machine: Deluze, Guattari and the contemporary art practice, the author (Simon O’Sullivan) ponders upon contemporary art practice referring to the philosophical framework of Deluze & Guattari. Beginning with his experience encountering a particular work of art, that of Cathy Wilkes among other artists from the Glasgow art scene and how he re-thinks (upon this encounter) what contemporary art “is” and what it “does”. Followed by a second section in which the author crosspollinates abstract concepts from Deluze & Guattari opus aimed to contemporary art practice in general. Lastly, elaborating a conclusion about: The future orientation of art, linked to the abstract machine and its diagrammatic function, a function that does not represent but rather construct a new type of reality. Treating our life’s as a work of art.
Addressing the following issues;
Art as sign, object, quality, event whose presence indicates the presence of something else. New assemblages taking place from the recombination of already existing elements, executed by new art practitioners willing to inscribe the work of art within a network of signs and significations, recasting and manipulating existing material from elsewhere. Offering an Interdisciplinary kind of art practice.
Aesthetics as an impulse towards innovation. Away from any particular Jandra, closer instead to a more spontaneous expression of the multiplicity of form and meaning nowadays. The artist as the one (re-assembling, re-signifying) bringing about something “new”. As we evolve as human beings so does art and our new ways of expressing it. Life and art (inseparable- to me) as two sides of the same coin.
Art as an experience that takes place beyond the boundaries of time and how we conventionally experience it, deploying different temporalities. I link this to my experience with Wilke’s work, in her recent show at MOMA ps1 (NYC-March-2018) in which I could sense this slowing down- entering into stillness kind of sensation when going through her installations, objects, pieces and images.
Dialectical opposition within the aesthetics of art, one of dissent and criticism versus the other of affirmation and creativity (the birth of something new). It’s one’s style of thought: “Whether one is drawn to negation and critique or to affirmation or creativity “- Deluze. Both are necessary stages that build onto each other along the process of bringing about something new. It is important to me to give space and allow critique in order to clarify the direction of the new that is to be manifested.
Artist as visionaire, rendering new compositions of affect, it is through the artist’s abilities and skills that a new visions are brought into this world as compositions. Art as a vital force from the dark-unknown caught by the imagination of the artist and translated by his/ her abilities and skills. Art practice can then be described as the realization of this potential that surround us all.
Uncertainty as that that holds potential opening up new pathways. It is very important to my creative process to allow error, absurdity and the stop of making sense. Experimentation has been and continues to be the key to further incorporate these points of indeterminacy and to freeing my work from being useful.
World as fiction, being able to grasp the world of convention as fiction is what enables us to gain some perspective, seeing not only its limits but also going beyond that into a world of pure potential, giving birth to new possibilities for life. Our interaction with the world and with art then becomes an event, an event that bears the potential for new patterns.