journal of visual culture
‘Living Flesh’: Animal–Human Surfaces
Ron Broglio
journal of visual culture [http://vcu.sagepub.com]
Copyright © 2008 SAGE Publications (Los Angeles, London, New Delhi and Singapore)
Vol 7(1): 103–121 [1470-4129(200804)7:1]10.1177/1470412907084505
Abstract
While historically animal art served cultural ends toward appropriating
and domesticating animals, contemporary art considers the possibility
of meeting animals outside of human terrains and outside of cultural
ideas about human and animal subjectivity. In such art the relationship
between canvas as surface and animal body as surface undoes
historical appropriation of the animal. The work of artists Olly and
Suzi provides a test case for breaching the divide between human
worlding and the ‘poor in world’ or mere surface lives of the animal as
explicated by Martin Heidegger. The artists’ paper spread out as
surface between the animal and the artists creates a contact zone
between the surface lives of animals and the work of art. What
develops is a productive site for pidgin language that counters human
interiority as the space of rational thought.
Keywords
Agamben
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animal
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contact zone
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contemporary art
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Heidegger
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language
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performance
This article pursues the following premise: that which is most animal,
including the biological element of the animal rationale, lives on the surface
of things and the animal with its surfaces is an overlooked site of productive
meaning. Animals are said to be poor in thought; they have little interior
reflection and, consequently, little by way of selfhood and no means of
attaining transcendental thought. So, to take up the animal means valuing
that from which we differentiate ourselves, the animal and its life on the
surface. I’m interested in imagining how the surface as a theoretical space
occupied by the animal has a productivity and meaning different from the
privileged self-reflection of the human subject. In other words, how does
the animal and its non-interiority produce thought differently? How might