- 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.
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.
INTERNATIONAL CONFERENCE 2016
Department of Art History
Universitat de Barcelona
c/ Montalegre 6-8.
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).