Professional Documents
Culture Documents
WEEK 5
UNSW Art & Design, ADAD1002
Keywords
erotics; love; longing; intensity;
libido; drive; interest; pleasure;
ambition; aspiration; crush;
optimism; want; need; intimacy;
proximity; subjectivity; affect;
illusion; fantasy; projection;
expression; shame;
embarrassment; ecstasy;
pleasure; sexuality; impulse;
relationality; sensuality;
responsibility; lust.
A students Tumblr post documenting research into desire, 2015
Discussion
Desire, broadly speaking, refers to an extension of the
self towards some other another person, an object, a
concept, an ideal. We often think of desire for
commodities and luxuries (consumerism) and desire as
a romantic/erotic impulse. But desire is more than that:
it refers to the affective (remember Affect from Week
3?) intensity that drives us in almost every aspect of
our life. Its also a powerful collective intensity that
drives cultural and social formations in different ways at
different times.
We take Deleuze and Guattaris notion that desire
produces its object as an interesting concept for
contemporary art and design. This notion rejects the
assumption that we desire what we lack and we move
towards the object of desire to fulfil a deficit instead, it
argues that desire constructs what it wants. This
means that desire makes its own experience. This
week were going to explore how desire makes itself in
art and design.
Milledge and Arnot, both Sydney-based artists, have recently made work looking at
the way that Tinder has leveraged, mediated, gamified, and extended romantic and
erotic desire. Rather than taking a moral position on such matters, both have
understood the changing interface of desire as an opportunity to examine the
vocab of contemporary sexuality and sociality.
https://www.youtube.com/watch?v=03QDL-xwyvY
documentation from 1.00 min
Blushing is associated with being ashamed, but if you
mention that youre blushing, its as if youre proud of
being ashamed: Look! I am blushing for you! What
makes someone blush exactly? Blood pumping faster and
becoming visible through the skin. I usually dont blush,
but the medication brought that ability to the surface. I am
interested in how we are entangled with our sexual
material, and at what point we can be independent of it.
This work is not about identifying the limits of a female
body, of course. Its about exploring how perceptions of
our physicalityaspects like blushingare in fact
culturally constructed.
Pamela Rozenkranz
Pamela Rozenkranz, (top) Stay True, from the series Firm Being, 2009; Alisa Baremboym, (bottom), Adaptic
Systems, 2013, mangled steel, archival pigment inks on silk, ceramic, flat bungee, tinted vinyl, syphon sieve, magnets
and hardware, 47 by 30 by 16 inches.
Perhaps
commodities can
desire us too?
Walter Benjamin writes, If the
soul of the commodity which Marx
occasionally mentions in jest
existed it would be the most
empathetic ever encountered in
the realm of souls for it would
have to see in everyone the buyer
in whose hand and house its
wants to nestle.
Walter Benjamin, Walter Benjamin and the
The Arcades Project, Bloomsbury, p 71.
Desirous objects
Marcel Duchamp, Coin de chastet, (Wedge of Chastity), galvanised plaster, dental wax, 1954
The plaster and dental plastic original was made in 1954 when, at the age of 67,
Duchamp took as his second wife Alexina 'Teeny' Matisse. The artist explained, 'It was
my wedding present to her. We still have it on our table. We usually take it with us, like
a wedding ring, no?' (Pierre Cabanne, Dialogues with Marcel Duchamp, New York
1971, p.88). Duchamp's technical assistant on the sculpture was a dental mechanic,
Sacha Maruchess. The union of the two forms expresses a coupling of male and
female, or positive and negative shapes.
Kelvin Doe a fifteen year old designer/inventor from Sierra Leone who at the age of 15 set up his
own radio station with the FM transmitter, circuit board, three channel mixer, microphone receiver,
and electric generator he pieced together from discarded parts he found in the garbage.
https://www.youtube.com/watch?v=XOLOLrUBRBY
Anicka Yi, 235,681K of Digital Spit, PVC and leather bag, hair gel, tripe, 10 x 14 x 20 inches, 2010
The task of turning the tide of negativity is an ethical transformative process. It aims at achieving the freedom of
understanding, through the awareness of our limits, of our bondage. This results in the freedom to affirm ones
essence as joy, through encounters and minglings with other bodies, entities, beings and forces. Ethics means
faithfulness to this potentia, or the desire to become.
Rosi Bardotti, The Ethics of Becoming Imperceptible, p2.
Studio exercise
Choose from one of the artists discussed in todays
resources.
#RUIN LUST /// In this short, meditative film made to accompany the exhibition, artworks are transposed from gallery
walls and reimagined within a ruinous landscape, whilst we hear a passage from the book 'Pleasure of Ruins', by Rose Macaulay.
BIOGRAPHY
Pipilotti Rist produces multi-projector video installations that fuse the bodily and the spiritual in what
have been called near-psychedelic experiences. Her rich vocabulary of sensual experience contrasts
the familiar with the strange, teasing out secret desires. Rist attempts to break down the barriers
between public and private space, creating fantastic, pleasure-filled domestic interiors that include
video, music, light effects, and furniture. The idea, she explains, is that now weve explored the
whole geographical world, pictures or films are the new, unexplored spaces into which we can
escape. In 2009 she created Pour Your Body Out, a 25-foot video installation projected in the atrium
of the Museum of Modern Art. Visitors were encouraged to take off their shoes and lounge on big
comfortable cushions while they experienced the colorful video projected overhead.
In Ever is Over All (1997), a modern-day fable, a woman strolls down the street, swinging a large
flower that strikes parked cars and, to her delight, shatters their windows. (Beyoncs recent video
for Hold Up (from Lemonade) is an homage to this work. In both texts, the transformative desire is
extends not towards the love object, but towards the destruction of private property. Lemonade can
be read as an album dedicated to the historical, cultural, social and personal traumas of black life in
the US. Romantic love is used a way of exploring the possibility of desire as a radical response to
state-led violence.)
In Sip My Ocean (1996), a video is projected in duplicate as mirrored reflections on two adjoining
walls, with the corner between them an immobile seam around which psychedelic configurations
radiate and swirl. A bikini-clad woman is seen intermittently frolicking underwater, her obvious
pleasure and sense of self-containment is transmitted to the viewer as part of a mesmerising
narrative about longing, desire, and dreams of fulfillment.