22.12.20 Transgressive art, taboo and provocation
transgressive
/tranzˈɡrɛsɪv,trɑːnz-,-ns-/
adjective
1. involving a violation of moral or social boundaries.
2. relating to art or literature in which orthodox moral, social, and artistic boundaries are challenged by the representation of unconventional behaviour and the use of experimental forms.
3. going beyond acceptable boundaries of taste, convention, or the law
taboo or ta·bu [ tuh-boo, ta- ]
adjective
1. proscribed by society as improper or unacceptable
2. prohibited or excluded from use or practice
provocation [ prov-uh-key-shuhn ]
noun
1. the act of provoking.
2. something that incites, instigates, angers, or irritates.
Many people feel that transgressive art has 'gone too far' and that
'it violates the remit of enlightened culture to the extent that it becomes impossible to engage with transgressive practices as art. Yet the fact remains that transgressive practices have genuinely expanded the horizon of artistic expression.' (Cashell, 2009, p1, original italics)
'Aesthetic transgression can be defined as any act of violation presented under the alibi of art. More than an aesthetic genre it more accurately nominates a general ‘oppositional practice’ that includes many sub-genres and assumes a multiplicity of variations. Anthony Julius In the most comprehensive tour de horizon of transgressive art distinguishes the aesthetic of transgression as an art committed to violating socio-consensual, but importantly non-legal, taboos: under the auspices of the ‘constructive nihilism’ of Friedrich Nietzsche and, in the spirit of the ‘expenditure without reserve’ developed in the ‘erotism’ of Georges Bataille, ‘Taboo-breaking artworks put under threat certain underarticulated or unspoken sentiments and beliefs to which their audiences may be taken to adhere.’5 The threats associated with transgressive art are thus directed at the audience; the viewer is meant to be affected by the violation of taboo symbolised by or enacted in the work.6 Bataille defines taboo as one of an economy of prohibitions that outline and protect the structure of the socio-symbolic realm.7 And given this definition, we can characterise the transgressive act as a perceived assault on rationality.' (ibid, p2)
I recognise elements of transgression in my work; I often deliberately flout convention by making work that explores cultural taboos. I often use the phrase ' I make public things that are normally private'. For a number of years I have made work that is abject, using body parts and talking about death. However, I don't just want to provoke responses of repulsion and horror. I'm also interested in attraction and hilarity. I've discussed here Mary Douglas' theories of ambiguity that can provoke a range of responses and that feels much more like my approach.
Also, the term 'provocation' in Early Years settings, is also a positive encouragement to creativity with pre school children. I regard my work as a mix of transgressive art and positive provocation. Like Steven Cohen, I also want ‘ to convoke … invoke … evoke’ and also to stimulate thought, discussion, and ultimately, action.
I plan to research these ideas of transgression, taboo and positive provocation in more depth for my next module.
transgressive
/tranzˈɡrɛsɪv,trɑːnz-,-ns-/
adjective
1. involving a violation of moral or social boundaries.
2. relating to art or literature in which orthodox moral, social, and artistic boundaries are challenged by the representation of unconventional behaviour and the use of experimental forms.
3. going beyond acceptable boundaries of taste, convention, or the law
taboo or ta·bu [ tuh-boo, ta- ]
adjective
1. proscribed by society as improper or unacceptable
2. prohibited or excluded from use or practice
provocation [ prov-uh-key-shuhn ]
noun
1. the act of provoking.
2. something that incites, instigates, angers, or irritates.
Many people feel that transgressive art has 'gone too far' and that
'it violates the remit of enlightened culture to the extent that it becomes impossible to engage with transgressive practices as art. Yet the fact remains that transgressive practices have genuinely expanded the horizon of artistic expression.' (Cashell, 2009, p1, original italics)
'Aesthetic transgression can be defined as any act of violation presented under the alibi of art. More than an aesthetic genre it more accurately nominates a general ‘oppositional practice’ that includes many sub-genres and assumes a multiplicity of variations. Anthony Julius In the most comprehensive tour de horizon of transgressive art distinguishes the aesthetic of transgression as an art committed to violating socio-consensual, but importantly non-legal, taboos: under the auspices of the ‘constructive nihilism’ of Friedrich Nietzsche and, in the spirit of the ‘expenditure without reserve’ developed in the ‘erotism’ of Georges Bataille, ‘Taboo-breaking artworks put under threat certain underarticulated or unspoken sentiments and beliefs to which their audiences may be taken to adhere.’5 The threats associated with transgressive art are thus directed at the audience; the viewer is meant to be affected by the violation of taboo symbolised by or enacted in the work.6 Bataille defines taboo as one of an economy of prohibitions that outline and protect the structure of the socio-symbolic realm.7 And given this definition, we can characterise the transgressive act as a perceived assault on rationality.' (ibid, p2)
I recognise elements of transgression in my work; I often deliberately flout convention by making work that explores cultural taboos. I often use the phrase ' I make public things that are normally private'. For a number of years I have made work that is abject, using body parts and talking about death. However, I don't just want to provoke responses of repulsion and horror. I'm also interested in attraction and hilarity. I've discussed here Mary Douglas' theories of ambiguity that can provoke a range of responses and that feels much more like my approach.
Also, the term 'provocation' in Early Years settings, is also a positive encouragement to creativity with pre school children. I regard my work as a mix of transgressive art and positive provocation. Like Steven Cohen, I also want ‘ to convoke … invoke … evoke’ and also to stimulate thought, discussion, and ultimately, action.
I plan to research these ideas of transgression, taboo and positive provocation in more depth for my next module.
Artspace (2015) The art of transgression: 13 historic performances that will freak you out Available at: https://www.artspace.com/magazine/art_101/body-of-art/body-of-art-transgressive-performance-53294 (Accessed: 3 November 2020)
Cashell, K. (2019) AFTERSHOCK: The ethics of contemporary transgressive art
Available at: https://r2.vlereader.com/Reader?ean=9786000029296 (Accessed: 22 December 2020)
Clark, A. (2010) AFTERSHOCK: The ethics of contemporary transgressive art, book review, Available at: https://www.a-n.co.uk/reviews/aftershock-the-ethics-of-contemporary-transgressive-art/ (Accessed 22 December 2020)
Themi, T. (2015) Bataille and the erotics of the real Available at: http://parrhesiajournal.org/parrhesia24/parrhesia24_themi.pdf (Accessed; 23 December)
Cashell, K. (2019) AFTERSHOCK: The ethics of contemporary transgressive art
Available at: https://r2.vlereader.com/Reader?ean=9786000029296 (Accessed: 22 December 2020)
Clark, A. (2010) AFTERSHOCK: The ethics of contemporary transgressive art, book review, Available at: https://www.a-n.co.uk/reviews/aftershock-the-ethics-of-contemporary-transgressive-art/ (Accessed 22 December 2020)
Themi, T. (2015) Bataille and the erotics of the real Available at: http://parrhesiajournal.org/parrhesia24/parrhesia24_themi.pdf (Accessed; 23 December)