The concept of formlessness has particular significance for this project as it relates strongly to the articulation of these ideas in practice.
Formlessness in art has been explored by several researchers, including Lucy Lippard’s examination of conceptual art (1973), the investigation by Yve-‐Alain Bois and Rosalind Krauss into l’informe (1997) and Anna Dezeuze in her current project for a book provisionally titled
The ‘Almost Nothing’: Precariousness in Art since the 1960s. Jack Burnham also dealt with the concept of formlessness by describing ‘systems aesthetics’, anticipating what is known as relational art or relational aesthetics today, an ‘art [which] does not reside in material entities, but in relations between people and between people and the components of their
environment’ (Burnham 1968, p. 165).
Some sixty years ago, French Surrealist dissident, writer and thinker Georges Bataille
undertook a philosophical development of the term l’informe (formlessness). As part of this, Bataille was interested in the abject and the scatological as a means to subvert power, to de-‐ classify through what he termed ‘base materialism’.
Base materialism (of which the informe is the most concrete manifestation) has the job of de-‐
class(ify)ing, which is to say, simultaneously lowering and liberating from all ontological prisons,
from any ‘devoir être’ (role model).
(Bois & Krauss 1997, p. 49)
The term abjection literally means ‘the state of being cast off’ (Tate n.d.). This abjection, this ‘state of being cast off’ is not only something that is done to others, it can be a determined choice, a way of working.
There is a connection between Bataille’s base materialism and George Maciunas’s exclamation in his Fluxus Manifesto, a call to ‘purge the world of bourgeois sickness, “intellectualised”, professional and commercialized culture’ and ‘promote living art, anti-‐art, non-‐art reality to be
abject base materialism emanating from the Fluxus attitude are Ken Friedman’s Flux Clippings (1968/circa 1969) and Robert Watts’s Female Underpants (c. 1966):
Figure 8: Ken Friedman, Flux Clippings, 1968/circa 1969, plastic box, offset on paper, bunions,
4 ¾ x 4 x 3/8 inches.
The Gilbert and Lila Silverman Fluxus Collection
Figure 9: Robert Watts, Female Underpants, c.1966, screen print
on fabric.
An even more recent example, although not directly related to the Fluxus attitude but exhibiting a similar sense of humour and abjection, is Sarah Lucas’s Chicken Knickers (1997).
Figure 10: Sarah Lucas, Chicken Knickers, 1997, photograph on paper, 426 x 426 mm.
The video L’incongruité de la langue #2 (2011) is an example in this project which relates to these concerns. It is discussed in Part 5.
L’informe is identified by Bois and Krauss (1997) as a thread running through 20th century art. To Krauss, the term l’informe is not merely abject in the sense in which it was used by Bataille. In a 1996 article in October magazine, she argues that rather than positioning form against content, ‘formless’ is a third term that that avoids such dualist thinking. She indicates that this stems from Julia Kristeva’s interest in abjection as a borderline, intermediary position that is ‘neither subject nor object’ (Krauss 1996, p. 91).
This is a space that is probed in the Modalities of Presence (2013) series of works for this project (discussed in Part 5), where the still images are not intended to be ‘pretty’ and the screen-‐captured handwriting slowly reveals the emergent empathic properties of a liminal state.
The abject-‐as-‐intermediary is […] thus a matter of both uncrossable boundaries and undifferentiable substances […] a subject position that seems to cancel the very subject it is operating to locate, and an object relation from which the definability of object (and thus its objecthood) disappears.
(Krauss 1996, p. 92)
Another dimension of Krauss’s reasoning is explored in the ‘l’incongruité de la langue’ works in this research (see Part 5), through which the difficulties of language are explored.
…the connection between subject and object, whether subject be the psyche and object be the soma, or subject be a conscious being and object, its word.
(Krauss 1996, p. 91)
Zen practitioner D.Z. Sukuki also spoke of formlessness, which was his translation of the Chinese wu-‐hsing, as representing the ‘suchness’ of the world:
“By formlessness is meant to be in form and yet to be detached from it”, Suzuki explained…because what is “formless” simply exceeds any concepts of form. (Dezeuze, n.d., p. 63)
These notions seem to resonate with Merleau-‐Ponty’s ‘flesh of the world’ and to art’s autonomy:
“I am seeing” is the analogous statement at the level of visual form. Reflexive modernism wants to cancel the naturalism in the field of the object in order to bring about a newly heightened sense of the subject, a form that creates the illusion that it is nothing except the fact that “I am seeing [it]”. The entropic, simulacral move, however, is to float the field of seeing in the absence
of the subject; it wants to show that in the automatism of infinite repetition, the disappearance of the first person is the mechanism that triggers formlessness.
(Bois & Krauss 1997, p. 78)
Artistic expressions can provide a vehicle for such notions. When Merleau-‐Ponty speaks of artistic practice he demonstrates how art and everyday human experience are ‘continuous in their interrogation of the world’ (Gilmore 2005, p. 315).
In their book Formless (1997), Bois and Krauss mention briefly that early Fluxus artists experimented with film (for example Yoko Ono’s Eye Blink, 1966). However, and interestingly from a complexity point of view, is the authors’ statement that they have not included ‘the tireless activity of the Fluxus group’ because they were unable to show ‘an infinite
overproduction without instantly betraying and limiting it’ (Bois & Krauss 1997, p. 24). In a long series of what might be called formless interventions, Fluxus artist Ben Vautier extended the notion of Duchamp’s readymades by preparing certificates that could be used to authenticate everyday objects as works of art, including blank postcards, empty wine bottles, dust and holes (Walker Art Center 2005). Of particular relevance to the context of this project, he also declared that the ‘absence of art’ is art:
Figure 11: Ben Vautier, Flux Certificate, 1963, sheet 5.125 x 7.375 inches, letterpress on paper [trans. I the undersigned Ben Vautier, declare an authentic work of art the absence of art]
In this project I propose, similarly to Vautier, that the emergent phenomena of the everyday that can be experienced by anyone at any time (that are not currently recognised as art) are also art.