Mythopoetic Cinema by Ravetto-Biagioli Kriss;

Author:Ravetto-Biagioli, Kriss;
Language: eng
Format: epub
Publisher: Lightning Source Inc. (Tier 3)

THE POLITICS OF CONFRONTATION

This is much, much wider than art, and it comes with great responsibilities. The public has to trust me. An artist has to be generous, unconditionally giving, open and humble.

—Marina Abramović, in an interview with Rachel Cooke

Similar to Godard’s Notre Musique, Abramović’s work asks us to rethink what we see in the face or the body of the other who suffers. But rather than forcing us to confront only the politics of images, she offers us her own suffering—not, however, as a way of redeeming or legitimizing anything, or of speaking for victims. Her acts of suffering are themselves a provocation, a confrontation—a confrontation that is not staged as a simple clash of cultures, peoples, ideologies, styles, and philosophies in order to demarcate boundaries and define one’s self as opposed to another. Operating outside the regime of dialectics, her work engages multiple images of opposition in order to examine how such images (of victors and vanquished, victims and victimizers) and ideas (humanist and moral absolutist, interventionist and pacifist), associated as they are with such conflicting forces, end up producing a single image, quality, or concept by projecting differences onto previously established forms of representation (identities, values, or morals). That is to say, how do we produce simple interpretations from such diverse and stratified situations?

Abramović’s Balkan oeuvre does not denounce all representation as distortion, nor does it embrace any one representation over another. Forcing conflicting images, representations, and ideas to confront one another, it engages in Deleuzian politics—the powers of the false—in an attempt to show that there is no one image, quality, perception, or concept (of suffering, war, good, evil, national identity, justice, right, or bodies in pain) but only a relation of images, qualities, perceptions, and concepts among themselves. It is a politics of confrontation that does not posit political, ethical, aesthetic, or philosophical claims but rather presents the performance of suffering as a form of politics.

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