01 Oct 2012

There was, I think, a conflict—perhaps a productive one—at the heart of this enormous multidisciplinary show, and it can be located exactly in the tension between those two words. On the one hand, many of the artworks and the stories they told circled around collective traumas: those of Nazi Germany and, much more recently, those of Afghanistan or the countries involved in the Arab Spring. Indeed, Christov-Bakargiev’s focus on what she calls “collapse and recovery” is so familiar from recent cultural theory that it is almost a cliché to speak of a traumatic temporality at the very core of all avant-garde artistic developments. But on the other hand, such psychoanalytic language here collides with the idiom of a new, object-oriented philosophy that wants to liberate us once and for all from anthropocentrism and consider instead what the catalogue calls the “inanimate makers of the world.” In fact, Christov-Bakargiev’s project is in many ways perfectly in tune with the approaches today discussed as “speculative realism,” with its ambition to rid our thinking of the obsession with that historically overemphasized relationship between a perceiving subject and a known object. Instead, the argument goes, we should look into other equally exciting and productive relationships in the world, consisting of so many human and nonhuman actors, or “actants,” as Bruno Latour would put it. Philosopher Graham Harman goes so far as to claim: “Atoms and molecules are actants, as are children, raindrops, bullet trains, politicians, and numerals. All entities are on exactly the same ontological footing.” One can go further still: To quote from an interview with Christov-Bakargiev, “The question is not whether we give dogs or strawberries permission to vote, but how a strawberry can assert its political intention.”

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