Deleuze and Contemporary Art

Deleuze and Contemporary Art

Deleuze and Contemporary Art

Deleuze and Contemporary Art


What is at stake for contemporary art in the take up of Deleuze and Guattari's thought? What are the limits and possibilities of this take up? To address these questions, this book presents a series of inflections that explore the connection between these two fields. The topics studied range from the political and the expanded 'aesthetic paradigm' of art practice today, to specific scenes and encounters and the question of technology in relation to art. These essays have been written by philosophers and artists working at the cutting edge of this new area, including writers from outside the Anglo-American tradition. The contributors include Gustavo Chirolla Ospina, Suely Rolnik, Gerald Raunig, Eric Alliez, Maurizio Lazzarato, Jussi Parikka, Johnny Golding, David Burrows, Robert Garnett, Edgar Schmitz, Claudia Mongini, Elisabeth von Samsonow, Barbara Bolt, Neil Chapman and Ola Stahl.


Stephen Zepke and Simon O’Sullivan

The artist stores up his treasures so as to create an immediate explosion.

Deleuze and Guattari, Anti-Oedipus

Conjunction Versus the Relational

Deleuze and Guattari and Contemporary art. Our emphasis lies squarely on the conjunction, on what it might mean and what it might be able to do. How can we articulate or even explode this conjunction, now and for a future to come? What is at stake is an actualisation of Deleuze and Guattari’s ‘logic of the AND’; an actualisation in action, a pragmatics that is not a ‘localisable relation going from one thing to the other and back again’, but a ‘transversal movement that sweeps one and the other away, a stream without beginning or end that undermines its banks and picks up speed in the middle’ (Deleuze and Guattari 1988: 28). Following this ‘stream’ that erodes its own banks, we cannot imagine that this relationship, this and, could be articulated by either ‘philosophy’ or ‘art’, at least in their traditional forms. As many of the essays here argue, Contemporary art is a field that seems to attack the very ground of this old distinction. Indeed, perhaps Contemporary art is a field of production (we would say a future) that ignores the line Deleuze and Guattari draw between concepts and sensations. In this sense then, the volume offers a cross-section of the encounter of Deleuze and Guattari and Contemporary art, an encounter that might irradiate our ‘present’ with the ‘crepuscular light’ of an and in which they become indistinct. Under these conditions the shifting qualities of a ‘to come’ emerge, in the eruption of an atemporal and untimely contemporary

Gathered together here are a collection of transversal experiments with the and between art, in its contemporary and visual form, and . . .

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