Bare life in second life : Giorgio Agamben's politics in performance

This paper describes and analyzes the necessary misreadings of Giorgio Agamben’s account of ‘bare life’ in a recent performance in Melbourne, Australia. The ‘Bare Life’ project deals with Australia’s treatment of asylum seekers with reference to Agamben’s work on sovereign power and uses the on-line second life world as both a metaphor for the refugee’s desire for a new life, and a literal site of performance. The development showing explored the interactions between live performance and second life avatars in real time. This paper deals with the philosophical, ethical and practical problems that emerged during the development, and argues that the ‘misreading’ is an inevitable, but useful part of finding ways to embody philosophical and political ideas in performance.

Only Agamben can save us? Against the messianic turn recently adopted in critical theory

In this paper, I offer a strong criticism of Giorgio Agamben’s recent political texts. I argue that these texts bring to fruition a larger, contentious trend in the theoretical academy coupling one-dimensional, pessimistic accounts of modernity with strands of messianism. Since the political prospects of messianism, as Agamben’s analyses show, are very thin indeed, I reflectively question the presuppositions that lead him to this prescriptive juncture. In Part I, recurring to Scholem’s classic analyses of Jewish messianism, I show how Agamben’s messianism borrows more or less directly (in The Open) from kabalistic, antinomian, utopian messianism. Having established this exegetical point, I argue two theses in parts II and III. The first, specifically theoretical thesis is that Agamben is driven into his political messianism by the transcendental logic of his analyses of ‘the political’, one which by its nature occludes meaningfully political distinctions by instead seeking out their ontological grounds. The second, specifically political thesis is that the widespread embrace of ontological messianism by thinkers in the post-Marxian academy is a symptom of, rather than a cure for, the wider malaise of the political left in the first world. If critical theory is serious about engaging with progressive praxis, one thing it must do is recall the difference between politics and prima philosophia, so that it does not continue to seek out ‘redemption’ – or at least an apology – in the bowels of the latter.

Climate change and non-Indigenous belonging in postcolonial Australia

The constitution of climate change as an ‘emergency’ invites an appeal to sovereign
power that is troubling in the context of Australia’s colonial history. Climate change is
an unsettling and dispossessing force that, while unprecedented in many ways, can be situated among a series of environmental and social crises that have shaped a discourse of anxious or insecure non-Indigenous belonging in this country. This discourse seeks to render non-Indigenous Australian place as secure and absolute, and understands environmental change as a threat to this goal. This threat appeals to an emergency framing, and in turn to a reassertion, in line with the insights of Agamben, of an exclusive sovereignty that rehearses the foundational dispossessions of colonization. At the same time, climate change is initiating new ways of conceptualizing human relations with place that challenge the value of sovereign status. It enacts realities that refuse a singular emergency and instead generate community from a reorientation of places, times and more-than-human relations. Thought in this way as a creative force that is shaping communities and environments, climate change becomes a source of critical insight for the possibilities of a decolonized future.

Op Shop Series

This series of works by the Melbourne collaborative group, Bozo Ink, in undermines the art gallery’s system of exchange and representation. They make the observation that as a site that supposedly reflects and critiques contemporary cultures, histories and practices, the gallery is merely a space of exhibition. Like many contemporary artists, and the critics and academics who assess their work, they are aware of the inherent paradox of exhibiting a work critical of commodity culture since we enter into a process of consumption that actually magnifies commodity culture when we place work in a gallery context. Bozo Ink’s project, The Op-Shop Series, offers a critique of consumptive practices in the art gallery and looks to entwine art, everyday practices and resistance strategies. They do this to test the potential of the gallery as a site for resistance, and to reconsider its function in the age of “consumption and spectacular exhibition” (Agamben 2007, 82). In linking the counter-practices of profanation (Agamben 2007) with the Situationist strategy of détournement (Debord 1994; Wark 2013) they hope to recast the art object as one without currency in the gallery. They propose that it is possible for the art object to unsettle both the image and the system of exchange within which it operates.

The new wilderness: A practice-led model for arts based enquiry

The New Wilderness is a practice-led, multidisciplinary arts project first piloted by artists, writers, teachers and academics from Geelong, Deakin University and Courthouse ARTS Centre in 2013. In a series of workshops run by artists, and working to specific themes, the project provided a platform for participants to explore and respond creatively to change in the community; it culminated in a large-scale installation at Courthouse ARTS Centre’s main gallery. Our paper positions the project as a able to cut across convention, empowering young artists to respond to ‘big questions’ of relevance to the changing material, spatial and social relations within their communities. In questioning and seeking to transform communities into sustainable media, economic, environmental and social ecologies, this emergent model begins with a localised focus, which is designed to travel across time and place, and pedagogical frameworks. The paper positions Geelong as a community under radical transformation in its economic foundations and demographics. As artists and academics living and working in the region we see it as an experimental ground for investigations into a series of provocations that mirror the shape of the paper we intend to give. The provocations, as outlined in the workshops, might also be envisaged as new relations to:Object – From consumable to unusable to play. In revisiting the first iteration of The New wilderness in 2013 we discuss the ‘superfictional’ (Hill, 2000) enquiry that participants were asked to engage with. Its premise described Geelong as an abandoned, post-apocalyptic site. Participants were asked to imagine themselves as a group of future explorers and excavate objects from the city’s old tip. In unearthing their choices and re-presenting the objects in the gallery the participant was prompted to analyse site, situation, object and process as phenomena for ‘being’ or ‘telling stories’, providing insights into wider realms of cultural experience (Ellis, Adams and Bochner, 2010). Parallel to this ‘autoethnographic’ reflection our paper uses the philosopher Giorgio Agamben’s analysis of consumer and material culture. He traces the subject’s relation to objects from use-value, to exchange-value and in the era of extreme capitalism, to pure exhibition-value. He searches for ways that the objects produced in our material culture can be ‘profaned’ (Agamben, 2007). Space – From the material to the spatial to the situation. We are interested in how objects and the practices they elicit can be ‘profaned’ by their situation (Agamben, 2007; Wark, 2103). To profane, according to Agamben, is to open up the possibility that the object loses its exhibition-value to ‘a special form of negligence’ (Agamben). He uses the example of the child’s ability to insinuate any object into a new logic of play (Agamben). Like the objects excavated for The New Wilderness they could be from a variety of spheres – business, household, industry, health etc… The child, like the artist, reconstitutes, reorders and assembles new relations between things. In reflecting on the first New Wilderness project the paper correlates the creative response of the participant (student, child, artist) with the occupier. The Occupy Movement, which took up residence in many of the world’s cities’ financial districts in 2011, used a number of strategies commensurate with both Agamben’s notion of profanation and McKenzie Wark’s reading of the Situationist International’s use of détournement - as a strategy that releases objects and subjects back into the field of play (Wark, 2013). The field was taken by the occupy movement to be the space in which they occupied – capitalism, its logic and its practices, were, for a short time, redundant in the occupied field. The New Wilderness conceptualises the city as a localised field, from which its discarded objects can be ‘profaned’ or, repurposed, to reflect on shared histories, responsibilities, pedagogies and future action. Subject: self/other– As much as we propose New Wilderness to be a pedagogical initiative we see it as personal, critical and political. In the themed workshops, designed to elicit personal responses to the object and the site, which culminated in a multi-disciplinary installation, performance and/or text based work, participants were encouraged to think critically, and importantly, collectively. Through the four workshops run in the first iteration of the project participants were asked to re-consider their material value-systems, much as the occupy movement was trying to do, and like the occupiers, participants were empowered to be agents of change. Our paper reflects on the practical outcomes and the conceptual, political and pedagogical strategies embedded in The New Wilderness project. The paper affords us the additional opportunity to imagine a life for it in other geographical, socio-economic and educational situations. Merinda Kelly and Cameron Bishop, 2013Bio: Merinda Kelly is a sculptor and installation artist, educator and PhD student at Deakin University. Her research interests include Visual Culture, Practice Led Research, the Ontology of Art, and Autoethnography. Her most recent work includes the Pop Archaeology' and the Globo-Touro Projects.Bio: Dr Cameron Bishop is an artist and academic working in Visual Arts at Deakin University. He exhibits regularly and has written a number of journal articles and book chapters. His research has focused on the philosophical and postcolonial dimensions of space and subjectivity and more recently has evolved into an active interest in strategic interventions into space and practice.

The ‘camps system’ in Italy : corruption, inefficiencies and practices of resistance

The alarming proliferation of ‘campi nomadi’ (nomad camps) in Italy intensifies the urgency of analysing their internal mechanism and the complex relation between all the parties [1]; ‘camp dwellers’, government agencies and Civil Society organisations [CSOs][2], involved in their production and reification. To arrive at an adequate appreciation of this nexus, the three components of what has been termed the ‘camps system’ have been analysed separately. This approach helped to pinpoint how they have combined to produce a hegemonic perspective on Romani issues, which yields a simplistic binary interpretation of a complex and dynamic phenomenon: Romanies are generally viewed as either victims or threats, narrowing the range of responses to charity or hostility. Only in recent years a growing awareness regarding the agency of camp inhabitants has re-emerged more consistently after a period in which an ‘encamped life’ was at times associated to Agamben’s (1998) ‘bare life’ and Foucault’s (1977) ‘biopolitics’. Nevertheless, scholars are still hesitant in developing a current of study looking specifically at camps, not only as ‘resistance sites’, but more broadly as ‘all-inclusive systems’, where interacting and interdependent agents form an integrated whole. Through in-depth analysis of this specific socio-political context I was able to observe the existence of a democratic deficit in the way these actors operate and co-operate with each other: competition and antagonisms, corruption, lack of transparency and accountability, and inefficiencies have all contributed over the years to producing and maintaining the present living situation of the Romani peoples.

"... the credentials that would rescue me": Trauma and the fraudulent survivor

The author of the present study juxtaposes accounts by " postmemory" individuals with the fraudulent works of Binjamin Wilkomirski (Bruno Dössekker) and Jerzy Kosinski. Analyzing both phenomena as representative of the dynamics at work in memory of the Holocaust and of other "traumatic events," the author arrives at a formulation, via Giorgio Agamben, of the aporia (contradiction) that lies behind both the legitimized and illegitimated. © Oxford University Press 2010; all rights reserved.