Jan Suk
Becoming Art
Číslo: 1/2013
Periodikum: Prague Journal of English Studies
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Anotace:
e figure of Tehching Hsieh stands out in the context of western performance art
as a solitary figure. His works, sometimes attributed to as “lifeworks” (Heathfield),
create a unique example the confluence of artist’s life and work, in other words,
almost an unparalleled work that encapsulates almost the whole duration of the
artist’s life and stands out of cultural boundaries. e analysis accentuates the aspects
of performativity and identity in the works of Hsieh using Deleuze and Guattari’s
concept of deterritorialization, and becoming as the vehicle to highlight the dissolving
of authorian identity into their work and blurring artist’s life with their work.
is paper applies the terminological framework of Deleuze and Guattati onto the
work of Tehching Hsieh. Besides the aforementioned deterritorialzation and becoming,
the paper further elaborates on the notion of haecceity, most notably on its “thisness”
phenomenon – so symptomatic for performance art as a creative strategy. Conclusions
are drawn on the basis that Deleuzian reading of performance art scrutinizes sufficiently
the utmost complex, rhizomatic character of the seemingly dichotomy – the issue of
blurring art+life.
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as a solitary figure. His works, sometimes attributed to as “lifeworks” (Heathfield),
create a unique example the confluence of artist’s life and work, in other words,
almost an unparalleled work that encapsulates almost the whole duration of the
artist’s life and stands out of cultural boundaries. e analysis accentuates the aspects
of performativity and identity in the works of Hsieh using Deleuze and Guattari’s
concept of deterritorialization, and becoming as the vehicle to highlight the dissolving
of authorian identity into their work and blurring artist’s life with their work.
is paper applies the terminological framework of Deleuze and Guattati onto the
work of Tehching Hsieh. Besides the aforementioned deterritorialzation and becoming,
the paper further elaborates on the notion of haecceity, most notably on its “thisness”
phenomenon – so symptomatic for performance art as a creative strategy. Conclusions
are drawn on the basis that Deleuzian reading of performance art scrutinizes sufficiently
the utmost complex, rhizomatic character of the seemingly dichotomy – the issue of
blurring art+life.