Karaoke Culture. Dubravka UgrešićЧитать онлайн книгу.
images (stamps, for example) he would have photographically enlarged.
Darger’s personal world is shaped by a number of factors, including the trauma of growing up in an orphanage (which he later fled), a childlike interest in the American Civil War (which they say he inherited from his father), Catholicism, mental illness, solitude, poverty, repressed sexuality, monomania, and a childlike fear of adults.
He would often glue his drawing paper into a long roll, painting it on both sides. Most of Darger’s pictures feature little girls, nymphettes, the prototypes for which he copied from newspaper advertisements and children’s fashion magazines. The soldiers in his pictures (largely inspired by American Civil War comics) represent the world of evil grown-ups. His nymphettes are located in rich phantasmagorical landscapes, in spaces that are part paradise and part war-zone.
Darger’s sprawling composition In the Realms of the Unreal tells the story of the seven Vivian girls and their struggle against the evil Glandelinians who keep children as slaves. The Vivian girls free the children and defeat the evil Glandelinians. The child-slaves are naked and, were it not for their penises, would also appear as young girls. Nakedness points to innocence and sacrifice, with crucified children frequent motifs. The Blengins are giant mythical beings—naked young girls again, with penises. Their heads bear heavy rams’ horns, their backs enormous wings and dragons’ tails.
Darger’s compositions provoke a conflicted feeling, somewhere between attraction and rejection, wonderment and unease. His visual world overflows with details, bodies, faces, and colors. His images of young girls are identical, one little clone next to another. It seems that Darger crammed his pictures with everything he saw, and everything he saw he “stole” from the surrounding “cardboard” everyday. His world is one in which giant frogs and horsemen, flying childlike beings, giant ducks, flowers of different colors and types, distorted Mickey Mouse heads, and sunflowers that dwarf clouds all simultaneously co-exist. A child’s utopia and a kingdom of evil.
Identifying the original sources for the details copied in Darger’s pictures is a treat for those familiar with the American everyday. The fantastic anthropomorphic beings with butterfly wings, for example, are stolen from advertisements for “Karo” syrup. “Darger steals his images, lifts them from conventional narratives, common everyday journals, and sentimental stories. He takes them out of context, disorients them, and re-enchants them. Indeed, he uses these images to reconstruct another narrative ensemble, but in the process, the images do not reject their origin but persist like foreign bodies, bodies with disquieting strangeness . . . Thus, Darger does not control anything: he is not the master of painting, nor is he even the master’s assistant . . . he is a sorcerer’s apprentice.”[6]
Darger was proclaimed a great artist when his world, finally in tune with the Zeitgeist, could be understood as art. There is an inadvertent correspondence between Darger’s world and contemporary cultural practice. His way of thinking can be compared to that of a child who spends day and night on the Internet. Cut and paste is Darger’s primary artistic technique, and today, with Photoshop and programs such as Illustrator and Brushes, he would get the job done much quicker. Teenagers use different computer programs in this same way, the practice of vidding, making video clips and posting them on YouTube, is a good example. Teenagers trawl the alluring chaos of popular culture, selecting, combining, parodying, ridiculing, retouching, and beautifying, turning hierarchical relationships on their heads, making the incompatible compatible.
The second respect in which Darger’s art corresponds with contemporary cultural practice is that his imagination, fired by popular culture, is perfectly in tune with the contemporary hunger for parallel fantasy worlds. In the world of Harry Potter children also create their own communities, fly, inhabit magical worlds, struggle against the forces of evil (most frequently embodied by adults), perform miracles, befriend mythical beings, and take control. In all of this the borders between worlds are soft. Darger’s visual poetics likewise overlap with the aesthetics of popular mass media products, from comics to computer games. In this respect his poetics can be understood as a harbinger of manga and anime aesthetics.
Although canonized, Darger remains within the niche of outsider art. At least statistically, however, contemporary art practice is in the hands of amateurs, outsiders, autodidacts, the intuitive and anonymous, individual and collective authors.[7] Although “canonized outsider art” sounds paradoxical, it is a part of the cultural practice of our time.[8] At least for a moment, one can also put things the other way around. Using the iPhone Brushes program, David Hockney recently began sending his friends little sketches instead of SMS messages. On a symbolic level, the artist’s self-amusement can be interpreted as a voluntary self-dethroning, an abdication of authorship and descent into the vast ocean of anonymous digital gestures. The artist no longer exists—there are only gestures that others can, but by no means must, declare as art. Symbolically becoming one with his predecessor, the anonymous author of prehistoric cave drawings, Hockney himself declared: “Him scratching away on his cave wall, me dragging my thumb over this iPhone’s screen. All part of the same passion.”[9]
[1]Translator’s Note: In 1893 Jakob Wiehler founded a company selling Gobelin embroidery patterns and yarns via catalog. Although no longer owned by the Wiehler family, the company that bears their name continues to flourish in Germany and many parts of Eastern Europe, not least Slovenia, Croatia, Serbia, and Bulgaria.
[2]www.stvaram.com
[3]Translator’s Note: RTCG refers to the Montenegrin state broadcaster, Radio Televizija Crna Gora. Crna Gora literally means “Black Mountain”—or Montenegro.
[4]www.draganrajsic.org/10.html
[5]Michel Thevoz, “The Strange Hell of Beauty,” in Darger, The Henry Darger Collection at the American Folk Art Museum 2001.
[6]Ibid.
[7]Responding to a critic who had dared suggest that contemporary visual art was illiterate, Tracy Emin—an established and canonized contemporary artist—replied, “So what if I’m illiterate! I still have the right to a voice!” Although she herself belongs to the art world’s elite, Tracy Emin spat out a sentence that sounds like the revolutionary slogan of a new artistic epoch.
[8]The canonization of outsider art today occurs within traditional institutions such as museums (the Museum of Everything recently opened in London, providing a roof for outsider artists), but also in non-traditional spaces such as fandoms, blogs, virtual communities, and associations. Groups brought together out of a shared interest in popular culture are, however, often anything but “popular.” A member of the virtual union of World of Warcraft gamers claims that joining the union is “as tough as getting into Harvard.”
[9]Lawrence Weschler, “David Hockney’s iPhone Passion,” The New York Review of Books, October 22–November 4, 2009.
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Masters and Amateurs
Every time I come across a story on contemporary artists