by Mark Dilks

Day Two

Thread, Pixel, Grain: Matt Saunders

Thread, Pixel, Grain (edit)

disposable perspective
body to-words dollops
ponderous flow of distributed language
a press…printed text
draw line
transfixed by footage
gooey lurking
medium specificity
in practice
same clothes, medium,
history muddling sexy practice —practically “permission”
Anxiety ends up being a goad for intensified invention and restlessness.
productively polluted materials
wander. moved, miscast, misused mobility.
Everything inverts: every thread performing a lapse
its own image animate literally
glom a magnified film negative.
squeegee than flow gooey zags and squibs
slicks and shifts
continuos static
… snow
like oil and water. high key
casein sluices
Flecks of damage alternating positive and negative in every frame,
refocusing what emerges.
Cajoled geological logic, its mistreatment.
Maintain identity.
Tests haunts mute experimental
what we’re really seeing


Body and Soul: About the Practice of Painting in France (1660 – 1770): Réne Démoris
Body Soul Practice in France (1660 -1770)

the archaeology conference between 1660 and 1770

social, religious and political

Politics 1676
André Félibien
any work using colors that are grinded with oil
any work or other material imagination

social hand enslaved to utility and profit,
servile, aristocratic
not expected to work independent from economic forces
Charles Le Brun 1648 Saint Luc prosecuted independent painters

“La pittura e cosa mentale”
preface aims to teach
separated from matter and from hand mind
composition contains geometry, bodies, passions, history, conveniences, decency, access to abstraction
translatable pedagogy
on rules devaluation contempt execution
theoretical contempt coloring

Louis XIV reform 1663
forced to apply controlled Jean-Baptiste Colbert Le Brun’s
(past, present, and future) of the Sun King Italians of 1667 – 1668
Lomazzo obsession grandeur
fear vileness (bassesse)
ox donkey suppressed history
Academy professor
history imagination invention
political King’s glory

establish a norm of “precepts”
theory (light, disposition of figures, costume, relation to antiquity) analytical 1668
signs of passions
Aristotle, Cureau de la Chambre, Descartes
homology between hierarchy

Phillippe de Champaigne lecture quarrel
of color 1671 color sin beautiful bodies
soul 1671 quarrel
Poussinists Rubenists, drawing versus color drawing theory color practice Le Brun spectator makeup (fard)

deceptive flattering immortality

ferocious criticism of the supposed greatness
Louis XIV lies (grands hommes) history
Jesuit Le Moyne 1670: big big piece shake
great Blaise Pascal vanity man love
(Corneille) dreadful. so small Cleopatra’s nose: absurdity

historian probable
appropriate fiction

Le Brun’s Félibien

Resistance trembling hand
Poussin 1658 original copy
Abraham Bosse 1649 de Piles 1677

Bosse copy without “beautiful parts”
(la liberté de l’exécution) knowledge body originality
Champaigne 1672 “copyists of manners)
practice nature genius
Eliezer and Rebecca, symbolic father

religious artists: neopagan cult of the king
(Pascal: la pensée de derriere)

Félibien Le Brun neo-Cartesian
limit the liberty of geometrical reason of intuition and experience

Félibien royal machinery Conférences
Le Brun 1666 Entretiens “in a country of liberty”
Vasari 1666 1688
Poussin 1685 Entretiens
theory nonsystematic order

not rules
you can teach the light of reason, behave against Nature unusual surprising against natural order infinite
divine exceeds pedagogy

Félibien Neoplatonists love grace actuality
quarrel Jesuists and Jansenists

grace, spiritual beauty (metaphor) je ne sais quoi
human body architecture, non figurative
a dome by Mansard
physical feeling elevation — ecstasy
it floated
order picture
order universe

Neoplatonic grace
subversive Félibien
female form separation sacred and profane
1660 1699
Beauty pleases by Rules, Grace without

grace picture is synthetic
practice a dangerous freedom
darker, lower, obscure
side where theory is failing
Cartesian capital sin of pride. Jansenist
incarnation of humility, experimental knowledge

Chantelou, Poussin modes Virgil’s Conférences 1668
colors of “expression of the passions”
1685 Rembrandt 1676 of Principes practice
use of the workers over reason craftsmen
understand them speak like them
craftsmen language

picture composition drawing color reasoning execution
reasoning father
execution mother

sexual couple love “pigment grinders”

fifth Entretiens 1679
Titian landscape Poussinists
(drawing) “deceives the eyes” grandes machines
invention, genius, imagination, knowledge

to know how the things have to be related; to well depict them execution above theory

Piles’s Dialogue sur le coloris 1673 Conversations sur la connaissance de la peinture 1677

Cours de peinture par principes (1708) never fails to surprise us detain us to enjoy surprise
bound up grace
practice, first glance disarray draws want
as if a conversation
Neoplatonic quickness

tout ensemble “disposition” invention intervention specific to both
pratique pejorative repeating falling into manner

a rehabilitation practice
practice complex no longer mechanical

theory and practice 1668
“ordonnance” Veronese a natural gift or true knowledge Domenichino (long meditation) Annibale Carraci groaning crying identify oneself with the figure to represent
expression of passions own body time execution

A Nude in the Neo-Avant-Garde
Ema (Nude on a Staircase): Benjamin H. D. Buchloh
A Nude Neo-Garde: Ema, 1966 (edit)

Ema Richter’s epochal fifty years
reproductions reissue full size photographic replica
centrality voices chorus

photographic painting nude family member in color
explicit reference

Unlike Tisch (Table)
1962 critically paraphrased
Ema Descending

Excursus 1863
withering sexuality and sublimation

1912 1913
class and sexuality facetted
not clearly gendered formerly fluent somatic volumes pneumatic self-contained units fracture facture
end mimetic motivated signs
spectator’s dis-investiture

allegorical skeleton
transhistorical flesh

1912 plentiful misreadings
dialogic responses face dialogic exchanges
iterations retorts homages dislodge doxa pressures

Erased (1953) simulated parricidal performance gambit
X-Men well-developed beware of fallacious New York School

recuperate a desirable present
Ema truth-value had taken self iconic source private familial autobiographical mid-1960s pregnant wife Monroe Taylor Kennedy
constructions of alienated desire

like a given matrix Morpheus
Betty 1977 1987 Isa 1993 Sabine Lesende 1994 Moritz 2000 Ella 2007

Betty fuses

re-skilling re-skilling

Excursus Returns
restorative 1915 1913 readymade
portrait the figure Neoclassical bodily mimesis anthropomorphically all representation

de-skilling—re-skilling skills
distinction distinction
lower the superior
religious or historical nineteenth century narcissism of social distinction
proof acquired transferred knowledge measures
encoded enlightenment address conflicts
spectatorial participatory agency

de-skilling collectivized labor
collective wealth de-skilling
expanding participatory linguistic readers

delectation consumption
oppose industry
insist on analysis
deflection de-fetishization
a universal poverty

consciousness post-World War II Cage
dislodge perceptual cognitive commonality amusing irritating 1915
Rainer’s Graham

skills are resistance

denegation programmatically performed,
unresolvable historical diabetic opposition
eros representation techne reproduction absorbed destruction

seemingly stable figures and faces disappeared

Spectacle Nudes
1949 1951 blueprint paper
transhistorical Historically indexical climax indexicality disembodied figure
iconic indexicality obliterated

indexicality iconicity dismantle legitimacy

3 Standard 1913 indexical restrictive reductive apex reflexivity indexical postwar index 1949-51
semiological recoded 1913
automatism de-skilling serve sign
uncensored unconscious subversive emancipation
domination indexicality
mass spectacle spectacularization index

suspect geographical typological grotesque malfunctions
Georges Mathieu France Lucio Fontana Italy Piero Manzoni’s indexicality Japanese (misunderstood)

adulation misprision failure
transfer embedded enforced public scars
Extrapolated ostentatious putatively spectacularized self-indulgences adulating heroicism invasion spectacularization indexicality progressing destruction public

new anti-oppositional contemporary
a third
pronounced three
Cage index psychic Breton
concomitant absence reflection
technological indexicality mythical spectacularized

European spectacularization
1950s 1960s Yves two painting performances notorious 1960s first Propositions monochromes
Apollinaire Milan 1957 fourteen less blue Alfred Düsseldorf May 31, 1957
heraldic West Germany Düsseldorf Krefeld Paris

abstraction Informel Tachist monochrome 1951 Kelly 1929 and 1951 Klein reductivism non- compositional four key dialogic prewar postwar spectaculars monochrome
preserve utterly spiritual 1966

1959-60 blue
infantile American nude
garde Parisian tragicomical travesty spectacularization
delegitimized fragile faded credibility
sexist patriarchal time

privacy publicity generation
spectacularization: desire variations
responses private violently
public musical theatrical public interaction
readers, speakers transformed spectacularized experience misreading disfiguration
indexicality warranty semiology reflexivity
utter vacuity
index spectacularization

pictorial myths spectacularized false publicity fetishized patriarchal Color Charts

spectacularized fraudulent spirituality
paying consumers,
originating hardware store Duchampian readymade tube enchantment disillusionment

a third counterexample undoubtedly
spectacle failure disinvest patriarchal paradoxically Piero
1961 Manzoni
sardonic European white male exposed female tattoo models posed comical
reverberates registers reduction
indexical banality
signature Manzoni culminate collapse brutal public bankruptcy 1917 grotesque recipient sublimatory Manzoni in 1961 animated spectacularized subjectivity sublimation

Manzoni’s irreverence barbarism Akts German nude tattooed post-World War II enumerated administered Jacques univers concentrationnaire tease

utter barbarism

opposition genre conventions within the most traditional false privatization publication privacy reversed affirmation
private wife six months descending staircase

bewildering 1960s
mnemonic epistemic limits-gardes gardes World II
contradictions Ema ostentatiously reverts Nude
paradoxical contradiction skills: re-skilling
absence presence value vanity skills hands
banned apparatus victoriously reactionary resuscitation obsolescence transhistorical artisanal
Ema manifest ambiguity re-skilling time strategy evolve resort rarity regularity landscape still life portraits resuscitations powerful rare precarious precious norm easily resorted undoubtedly seduced conservative admirers

Resurrecting skills hierarchal structures return argued regressive reactionary theorization
artist’s own, fairly recent socialist realist past re-naturalize mimetic representation anchor putatively originary referent propagated authoritarian full well disqualified twentieth century again in post-reversals artist’s desire particular post heretofore tradition

reject doxa neo Ema
tempo first culture cultural consumption mediated American grisaille labor mourning memory Germany

Ema reclaims commemoration history mimesis mourning Freud’s anamnesis
tandem 1966 anamnesis
five psychological, epistemological aesthetic mourning sublimation mnemonic urgencies repression
Ema resuscitate longue durée de-sublimation neo-limitations readymade commodification experience

Notes on Painting: Julie Mehretu
Notes on Painting (edit)

Push, scratch, mark, cut, stay.

the sound gliding nib like stone
never tabla rasa, always palimpsest.

pull out of myself,
Lose cultural lost beat
find the BREAK.

spit. can throw a bomb
at the strangeness of the future emergent
auricular haunting knowledge

aural beats. Breaks.

diagrammatic maps synth mutant
Collapse time

refusing past
repeat patterns / social / repression / expansion without judgement
something other time-based

Find the break , fissures — open force of unraveling potentiality.
performative percussive MASS (being)
decimate place
they morph it / splice through.
the break linear, is insistent

it is.



(as futile as the marks themselves)

small mark LONG VIEW SUSPENDED in transparency (desire)
one suspended time = MUTANT performance
EMERGENCE (monstrosity)

bits, data, infrastructure, power
Solder, fuse with marks
their illegibility comfortable with the headache

Conjure (ghosts) / data
tired mimic writing
new past surface stratified
past new disruptions stain the machine from within
convective cluster, clog, infecting coherence
contagion, contamination, fall out.
Blank notational clarity
falls apart.