• A Manifesto for Metallic Avant-Garde. Art as Machinic Phylum in Marek Konieczny, Raphael Rogiński and Arslanbek Sultanbekov

    SESSION D: New Materialisms and Infrastructures
    Day 3. Saturday, 29th October.
    12:00 – 14:00
    Venue: ASM: Arts Santa Mònica

    In Bergsonism Deleuze builds on Bergson’s method of intuition advocating the decomposition of composites along divergent lines in order to identify the braided co-implication of virtual intensive and actual extensive multiplicities as dimension of the single, self-differentiating difference, “élan vital as the movement of differentiation” (1988: 91). The concept of machinic phylum and the corresponding practice of metallurgy follows in A Thousand Plateaus as a radical mutation of Bergson via Simondon and Leroi-Gourhan, putting duration into things, and thus giving voice to matter and its inhering forces. Machinic phylum encapsulated in metals and their conductive powers, as weaponised by Turco-Mongol nomads, is confluent with the project of avant-garde, as forged by Marinetti, which has promised to disorganise the human by fostering encounters with inhuman life. The formulation of machinic phylum/metallurgy echoes Bergsonism in its correlation of unformed energetic potentialities and their actual crystallisations into a “technological lineage” (Deleuze and Guattari 2003: 406). The ensuing co-implication is – to borrow a phrase from Difference and Repetition – this “something in the world [that] forces us to think. This something is an object not of recognition but of a fundamental encounter” (Deleuze 1994: 139).

    The following paper uses the neo-avant-garde art-work of the Polish engineer-turned-artist Marek Konieczny; the music of the contemporary Polish-Jewish jazz guitarist Raphael Rogiński, and the desonant kılkopuz folk by the Nogai artist Arslanbek Sultanbekov, to forge a new transversal lineage that reveals art as technology, an affective weapon serving as a conductor of imperceptible forces. This aberrant trajectory will take us through parabolic hyperboloid reinforced concrete roofs; Pieter Saenredam’s architectural abstraction; an ontology of metallic exfoliation in sculpture and on 36mm film, prepared guitar and resonant horse tail hair strings. In doing so I would like to propose machinic phylum as a method in the emergent field Deleuzo-Guattarian onto-aesthetics. Art writing, art research, art philosophy – all thus become a metallurgic practice which resonates with Deleuze’s pursuit of the affects of paint(ing) in Francis Bacon: The Logic of Sensation, fabulating a nomadic line across periods in art history.

    Radek Przedpełski
    Trinity College Dublin

    Radek Przedpełski is a final-year PhD student in Digital Arts and Humanities at Trinity College Dublin. His doctoral research probes onto-aesthetic thresholds of emergence and rhizomatic multiplicities in the 1970s neo-avant-garde practices via the process-oriented philosophies of Deleuze, Simondon, Spinoza, Bergson, 17th-century Polish Baroque and prehistoric artists of the Great Steppe. The key question of his dissertation is how we can articulate a politics of art and unleash its potential for metamorphosis. In April 2016, together with Prof. Steve Wilmer, Radek organised a hugely successful conference at TCD on Deleuze/Guattari and art. He is also a freelance photographer and sound artist.


Department of Art History
Universitat de Barcelona
c/ Montalegre 6-8.
08001 Barcelona

Call for Papers
Organizing Committee

The images for the Art and Speculative Futures conferences are generously provided by artist Regina de Miguel from her video Una Historia Nunca Contada desde Abajo (2016).