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By Barbara Bolt

Refuting the idea that paintings is a representational perform, Bolt's extraordinary argument engages with the paintings of Heidegger, Deleuze and Guattari, C.S.Peirce and Judith Butler to argue for a performative courting among artwork and artist. Drawing on issues as assorted because the paintings of Cézanne and of Francis Bacon, the transubstantiation of the Catholic sacrament and Wilde's novel the image of Dorian grey, she demanding situations the metaphor of sunshine as enlightenment, reconceiving this revealing mild because the blinding glare of the Australian solar, and means that an excessive amount of mild may well in truth display not anything. ultimately she asks: how does an embodied perform fare in the tradition of conceptual artwork?

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Extra info for Art Beyond Representation: The Performative Power of the Image

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In this endeavour, he pits the monstrous nature of repetition against the stability and hierarchy of representation (Olkowski 1999:24). Here we can return to the question of practice. In the repetitive nature of practice it is never a question of repetition of the same. Rather, as Deleuze argues, ‘repetition produces only the same of that which differs’ (Deleuze 1990:289). This monstrous logic is the logic of practice. Whilst there are points of correspondence between Heidegger and Deleuze’s critique of representation, particularly representation’s will to fixity and indivisibility, there are also marked differences in their projects.

In Derrida’s argument, Strasbourg becomes a metaphor for the congress, for the encounter of different languages and for the debate on representation. Derrida suggests that in its position as a border or frontier town between France and Germany, Strasbourg is an ideal place to test the presumed invariable identity of representation. As a place where different languages and different cultural practices encounter each other, the effects of passage and of translation on representation become palpable.

It is not that representation can be expelled from the scene, but rather at the level of practice, representation can be set wobbling on its axis and can be toppled. Practice involves movement and movement involves setting things in process. Practice necessarily involves a process of becoming. In practice, as we have seen, the work can take on a life of its own. This movement, suggests Deleuze, is: TRANSCENDING REPRESENTATIONALISM 41 Capable of affecting the mind outside of all representation; it is a question of making movement itself a work, without interposition; of substituting direct signs for mediating representations; of inventing vibrations, rotations, whirlings, gravitations, dances or leaps which directly touch the mind.

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