Showing posts with label daniel silver. Show all posts
Showing posts with label daniel silver. Show all posts

20 Dec 2024

Philematology: On Kissing and Cannibalism

Daniel Silver: Kissing (2024) [1]
Statuario Altissimo marble and bronze,
with a stainless steel baseplate

 
I. 
 
It wasn't until I saw Daniel Silver's sculpture of bronze lovers "'stuck together like two jujube lozenges'" [2] that I realised the full horror of an oft-quoted remark made by Georges Bataille: 
 
A kiss is the beginning of cannibalism ...
 
 
II. 
 
What this means is that there's an accursed link between eating and eroticism. 
 
For consumption, like sex, is a way in which separate beings not only communicate, but fatally come into touch, enabling the self and non-self to bridge their discontinuous existence as individuals [3].  
 
Or, to put it another way, sexual desire that drives us to press lips together and insert tongues in mouths (and other bodily orifices) and the voracious desire to devour the other, are as closely connected as Eros and Thanatos in a general economy in which non-productive expenditure (via acts that often violently transgress social norms) is key.    

Herman Hupfeld may insist that "a kiss is just a kiss" [4], but, as a matter of fact, nothing is ever so innocent or free from context (i.e., a whole network of meaning and significance). 
 
 
III.
 
Apparently, anthropologists disagree on whether kissing is instinctual or an example of learned behaviour. 
 
Those who favour the former point to the fact that other animals appear to kiss (whilst ignoring that not all humans engage in the activity) [5]
 
Those who favour the latter, argue that kissing in its modern (romantic) form has evolved from activities such as suckling or premastication in early human cultures [6] and there is certainly evidence to support the claim that cataglottism [7] has developed from mouth-to-mouth regurgitation of food - or kiss-feeding - either from parent to offspring, or between lovers.
 
 
IV.
 
It might be noted in closing, that man's will to merger or primal unity - be it via the sexual penetration of a lover's body or the consumption of their flesh - is what some describe as a death instinct, seeing as it conflicts with the "central law of all organic life"; namely, that each organism is "intrinsically isolate and single" [8].  
 
The problem, of course, is that another vital law is that we need and desire one another; that each organism only thrives via intimate contact with others.  
 
Fortunately, coition is only ever a coming-close-to-death; a meeting but not a mixing of separate blood-streams. There is no real union during sexual intercourse and, once the crisis is over, the sovereign individuality of each party remains intact. 
 
However, that's not the case in cannibalism, or what might be called a hard-vore scenario, wherein at least one party is going to be semi-digested and certainly won't be able to enjoy a cigarette afterwards as a singular being.   
 
 
Notes
 
[1] Daniel Silver's Kissing (2024) - in part inspired by Constantin Brâncuși's famous sculpture, The Kiss (1907-08) - features in his Uncanny Valley exhibition currently showing at the Frith Street Gallery (Golden Square, London), until 18 January 2025. The photo is by Ben Westoby, courtesy of the artist and gallery. For more details visit: frithstreetgallery.com
 
[2] This humorous remark is made by Rawdon Lilly in D. H. Lawrence's novel Aaron's Rod, ed. Mara Kalnins (Cambridge University Press, 1988), p. 91.
 
[3] See Georges Bataille, The Accursed Share: An Essay on General Economy, Vol. I, trans Robert Hurley, (Zone Books, 1988). Readers interested in Bataille's interesting (somewhat idiosyncratic) take on death and sensuality might also like to see his work entitled Erotism, trans. Mary Dalwood (City Light Books, 1986). It is also available as a Penguin edition entitled Eroticism (2001).

[4] Herman Hupfeld (1894-1951) was an American songwriter, whose most notable composition was 'As Time Goes By' (1931), which featured in the 1942 film Casablanca (dir. Michael Curtiz), performed by Dooley Wilson as Sam. The line quoted here is taken from the song. 
 
[5] I'm pretty sure that Heideggerians would protest that although many other animals exchange what appear to be kisses of affection, they are not kisses in the full sense (that kissing is something that only human beings can fully experience due to our ontologically unique status). 

[6] Another theory suggests that kissing originated during the paleolithic era, when cavemen would taste the saliva of females in order to determine whether they would make a healthy mate (or perhaps a hearty meal).
 
[7] Cataglottism - more commonly known as French kissing - involves extensive tongue activity in order to induce sexual arousal and not merely the pressing together of lips. 
      As Freud rightly says, it is strictly speaking a type of kinky deviation from normal sexual activity, even if no one acknowledges or rejects it as such. See his Introductory Lectures on Psychoanalysis (1920), in which he writes: "Even a kiss can claim to be described as a perverse act, since it consists in the bringing together of two oral erotogenic zones instead of the two genitals."
      Later, Freud comments on how strange it is that the lips have such erotic value amongst lovers - including the most sophisticated ones - in spite of the fact that (technically) they are not sexual organs, but constitute the entrance to the digestive tract. 

[8] D. H. Lawrence, 'Edgar Allan Poe', Studies in Classic American Literature, Final Version (1923), ed. Ezra Greenspan, Lindeth Vasey and John Worthen, (Cambridge University Press, 2003), p. 67.
        
 
Further reading: those who are interested in this topic might like to see Ursula de Leeuw's essay 'A kiss is the beginning of cannibalism: Julia Ducournau's Raw and Bataillean Horror', in Exchanges: The Interdisciplinary Research Journal, Volume 7, Issue 2, (2020), pp. 215-228. Click here for an online pdf. 
 
 

18 Dec 2024

Free the Probe-Heads! Once More into the Uncanny Valley with Daniel Silver

Daniel Silver: Angel Dew (2024)
Statuario Altissimo marble and bronze (172 x 66 x 104 cm)  
 
Beyond the face lies an altogether different inhumanity - free the probe-heads!
 
 
I. 
 
One of the things I like about Daniel Silver's Uncanny Valley exhibition at the Frith Street Gallery, is that it has given me a new appreciation for the astonishing beauty of that metamorphic rock formed from limestone or dolomite (and composed of calcite crystals) that the ancient Greeks called mármaros, with reference to its gleaming character, and that we know today as marble
 
Previously, I've expressed concerns with this material long-favoured by sculptors keen to work within a Classical tradition; concerns mostly of a political nature to do with marble's high-ranking status within what Barthes terms a hierarchy of substances [a].  
 
But, after seeing Silver's new works up close, it becomes impossible not to admire the grandeur of the marble sourced from an old Italian stone yard - particularly as Silver essentially leaves the rock as quarried, only lightly treating the surface or making sculptural marks upon it. 
 
Even without the bronze heads that sit atop them, one could spend many hours happily contemplating these rocks and their geo-aesthetic qualities.
 
But, talking of the metal alloy heads ...
 
 
II.

I'm pleased that Silver seems to privilege the head over the face; that he leaves the latter inscrutable and unsmiling. Because, like Deleuze and Guattari, I have problems with the face which has long held a privileged and determining place within Western art and Western metaphysics in general [b].
 
We like to think our face is individual and unique. But it isn't: it's essentially a type of social machine that overcodes not just the head, but the entire body, like a monstrous hood, ensuring that any asignifying or non-subjective forces and flows arising from the libidinal chaos of the latter are neutralized in advance. 
 
The smile and all our other familiar facial expressions are merely types of conformity with the dominant reality. If men and women still have a destiny, it is to escape the face, becoming imperceptible. 
 
And how do we do that? 
 
Not by returning to animality, nor even returning to the head prior to facialisation. We find a way, rather, to release what Deleuze and Guattari term têtes chercheuses ...
 
 
III.
 
The primitive head is beautiful but faceless: the modern face is produced "only when the head ceases to be part of the body ..." and is overcoded, as we say above, by the face as social machine in a process "worthy of Doctor Moreau: horrible and magnificent" [c].  
 
But we can't go back: neo-primitivism is not the answer. As Deleuze and Guattari note, renegade westerners will "always be failures at playing African or Indian [...] and no voyage to the South Seas, however arduous, will allow us to [...] lose our face" [188].
 
But perhaps art can help us here: not as an end in itself existing for its own sake, but "as a tool for blazing life lines, in other words, all of those real becomings that are produced only in art, and all those [...] positive deterritorializations that never reterritorialize on art, but instead sweep it away with them toward the realms of the asignifying, asubjective, and faceless" [187].
 
In other words, perhaps art can liberate probe-heads that "dismantle the strata in their wake, break through the walls of significance, pour out of the holes of subjectivity" [190] and steer inhuman forces and flows along lines of creative flight. 
 
 
IV.
 
To be honest, I'm not entirely convinced that Daniel Silver is on board with this project; he's a self-confessed Freudian after all and what we're proposing here is very much anti-Oedipus. Ultimately, I fear there's something a little Allzumenschliches about his vision. 
 
But, you never know: he clearly finds heads fascinating and there's definitely the promise of something vital in his work; something that "exists between the human and non-human, intertwining rocks with bodies, minerals with flesh, embodying multiple temporalities" [d].
 
 
Notes
 
[a] See the post dated 1 December 2012 - Why I Love Mauro Perucchetti's Jelly Baby Family - click here. And see Roland Barthes, 'Plastic', in Mythologies, trans. Annette Lavers (Paladin, 1973), pp. 104-106, where the phrase 'hierarchy of substances' is used.  

[b] See the post dated 13 September 2013 - The Politics of the Face - click here.

[c] Deleuze and Guattari, A Thousand Plateaus, trans. Brian Massumi (The Athlone Press, 1996), p. 170. Future page references to this text will be given directly in the post. 

[d] Paula Zambrano, Curator of Programmes at the Contemporary Art Society, writing in a short piece posted on 6 December 2024: click here


Readers might be interested in an earlier post published on Daniel Silver's Uncanny Valley exhibition  - From Victory to Stone (17 Dec 2024): click here
 
This post is for Poppy Sebire (Director of the Frith Street Gallery) for kindly sharing her insights into Daniel Silver's artwork. 


17 Dec 2024

From Victory to Stone: Into the Uncanny Valley with Daniel Silver


Daniel Silver: Uncanny Valley (29 November 2024 - 18 January 2025)
Frith Street Gallery (Golden Square, London) 
Photo by Ben Westoby / frithstreetgallery.com 
 

I. 
 
Firstly - and I hope this doesn't seem too pedantic - but the concept of the uncanny valley does not refer to an underworld in which one finds oneself lost, as the press release for the new exhibition of work by British sculptor Daniel Silver at the Frith Street Gallery claims [1]

The uncanny valley - as I'm sure many torpedophiles will know - is a psychophysiological phenomenon (rather than a mythogeographical location, such as Hades) that refers to the unease and revulsion experienced by people when challenged by certain ambiguities, inconsistencies, and/or discrepancies (in voice, movement, or appearance) of the almost but not quite human [2].  
 
 
II.
 
Daniel Silver was born in London, in 1972, and studied at the Slade School of Fine Art and The Royal College of Art.  
 
He describes his sculptural work as an attempt to combine ancient and modern elements whilst, simultaneously, communicating something of the timeless (and universal) character of humanity - not a project that I approve of, obviously.
 
For such idealism invariably means a retreat from external reality and the positing of a fantasy of inner life and essential being that ultimately serves to domesticate and contain mankind within some kind of crypto-theological or, in this case, a psychoanalytic narrative (Silver is a reader of Freud, so not surprising that he should think about the family ties between his pieces).  
 
Having said that, Silver does remain committed to celebrating the substantial nature of his figures, in bronze and large, heavy pieces of raw marble excavated from an old Italian stone yard, and it's this that most excites about the ten pieces in this exhibition (certainly more than the oedipal elements that he attempts to overcode the work with). 
 
Indeed, if I were a sculptor, I would be exclusively concerned with materiality and the fact that human biology is founded upon and born of geology, not Geist - i.e., that organic life evolved from inorganic rocks and minerals in a chemical process known as abiogenesis (now there's a title and a theme for a new exhibition) [3].       
 
 
Notes
 
[1] Click here to go to the Frith Street Gallery website where full details of Daniel Silver's Uncanny Valley exhibition (29 Nov 2024 - 18 Jan 2025) can be found and a copy of the press release downoaded.
 
[2] This term, uncanny valley, is an English translation (by the art critic Jasia Reichardt) of a phrase coined in 1970 by Japanese roboticist Masahiro Mori - bukimi no tani. In order to avoid association with the earlier psychoanalytic concept of das Unheimliche (which Freud developed from the work of Ernst Jentsch), the phrase is sometimes alternatively translated in English as valley of eeriness (which is unfortunately not quite as catchy, even if arguably more accurate).
      According to Mark Fisher, the eerie is a distinct mode of strangeness that troubles the notion of agency and makes us question our own existence or uniqueness, making us feel anxious or apprehensive. It has very little to do with Freud's concept and should not be equated to the latter.    
      See Mark Fisher, the Weird and the Eerie (Repeater Books, 2016). And see my two-part post on this work published 10 October 2023: click here.   
 
[3] Paula Zambrano, Curator of Programmes at the Contemporary Art Society, anticipates what I'm suggesting here in her short piece posted on 6 December 2024 on the CAS website, writing that Silver's work "exists between the human and non-human, intertwining rocks with bodies, minerals with flesh, embodying multiple temporalities". That's spot on, I think. 
      Unfortunately, however, she ends her piece mistakenly claiming that the uncanny valley is "shaped by memories and desires" and "is the realm of the underworld as a metaphor for the unconscious", thereby falling into the Freudian trap that Mark Fisher warned against (see note 2 above).
      To read Zambrano's article in full, click here.    
 
 
Musical bonus 1: The title of Silver's exhibition - 'Uncanny Valley' - comes from a track by the singer-songwriter Johnny Flynn working in collaboration with author Robert MacFarlane, that was released as a single from the studio album The Moon Also Rises (Transgressive Records, 2023): click here.
 
Musical bonus 2: The title of this post - 'From Victory to Stone' -  comes from a track by the Scottish punk rock band the Skids, released as the second single from their debut album Scared to Dance (Virgin Records, 1979). Written by Richard Jobson and Stuart Adamson, it reached number 10 in the UK Singles Chart: click here.  
 
Click here for another post written on Daniel Silver's Uncanny Valley exhibition at the Frith Street Gallery (29 Nov 2024 - 18 Jan 2025).