The Spectacle of Disintegration. Маккензи Уорк

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СКАЧАТЬ the 1850s, the bourgeoisie tried to build a new transcendent myth out of the ruins of religion, an autonomous sphere of Art as redoubt from economy. The struggle for new mythological forms can be traced from David’s The Death of Marat to Manet’s Olympia. Vaneigem: “The ‘spectacle’ is all that remains of the myth that perished along with unitary society: an ideological organization whereby the actions of history upon individuals themselves seeking, whether in their own name or collectively, to act upon history, are reflected, corrupted and transformed into their opposite—into the autonomous life of the non-lived.”²² Where Clark traced the tactics of realist painters in and against the spectacle, Vaneigem records those of the romantic and Surrealist writers.

      Three strategies confront the challenge of the bourgeois world’s autonomous art. One was a radicalizing of aesthetics from within: Stendhal, Nerval, Baudelaire. A second was the struggle to abolish art as a separate world and realize it in everyday life: Hölderlin, Lautréamont. The third was a systematic critique of aesthetics from that world from which it separated: Fourier and Marx. Dada came closest to a synthesis of the available strategies, but the defeat of the German revolution of 1919 doomed it to failure, too. Dada offered an absolute but abstract break with bourgeois art and life. Surrealism, at its worst, was a kind of reformist version of Dada, obscuring its negativity, restoring partial forms of revolt.

      The Surrealists struggled against, and eventually collapsed into, the autonomous sphere of art. Vaneigem: “Hence Surrealism became the spectacularization of everything in the cultural past that refused separations, sought transcendence, or struggled against ideologies and the organization of the spectacle.”²³ And yet, not least through Breton’s intelligence and discretion, “the Surrealists made a promise which they kept: to be the capricious consciousness of a time without consciousness.”²⁴ Vaneigem appreciates Breton’s expulsions of unworthy members, even as he slyly notes “his tendency to choose people’s aperitifs for them.”²⁵

      At their best, the Surrealists resisted both specialized art and politics, and hewed close to the discovery of the potentials of everyday life. While some capitulated to the art market, Benjamin Peret, Antonin Artaud, André Breton and Jacques Prévert waged a campaign against Surrealism as ideology. They extracted themselves from the allure of the Communist Party, whose deadly policies Peret saw firsthand as a volunteer in republican Spain. Vaneigem: “The foundering of this project under the helmsmanship of Stalinism and its attendant leftisms was to reduce Surrealism to a mere generator of what might be called the special effects of the human.”²⁶

      Still, they pioneered a psychoanalysis freed from therapeutic pretensions. They remained guardians of dreams, even if they could not quite bring themselves to call for their realization in everyday life. From early on, René Crevel documented the persistence of non-life in the totality of human affairs: “All our life we circle around the suicide that legislators have condemned so that the earth might not be deserted.”²⁷ Crevel took his own life in 1935. His suicide note said simply, “disgust.” When they turned away from Stalinism, Breton and friends were left with nowhere to go except the rewriting of everyday alienation as cosmic mental theater, either on the epic scale of Artaud, or as Crevel’s chamber pieces.

      Vaneigem gives the Surrealists more credit than does Debord for what they preserved through the dark times of the late thirties. They kept alive fragments of a project of emancipation, the trace of a theory of passionate moments, moments of love, encounter, subjectivity. Yet they turned such moments into an absolute, an illusory totality. They fell for the cult of woman, and for a hierarchy of spiritual over carnal love. Breton in particular failed to live up to Fourier’s lack of judgment about homosexuality, or so-called deviance in general.

      The Surrealists constructed a new canon: the atheist priest Jean Meslier, the romantic extremist Comte de Lautréamont, the criminal poet Pierre-François Lacenaire, and the desiring machinery of Charles Fourier, among others. But they abandoned Dada’s quest for collective poetry and total negation in favor of the specialized domains of avant-garde politics and art. Vaneigem: “The discovery of Fourier might perhaps have underpinned an overall recasting of the movement, but Breton would always prefer Fourier the visionary, Fourier the poet of analogy, to Fourier the theorist of a radically new society.”²⁸ At war’s end there was not much left of Surrealism as a radical project. “They were Don Quixotes tilting against housing projects.”²⁹

      Vaneigem finds the backbone of the movement in its poets, not its artists, who were usually to the right and quickly absorbed into the art market. They offered, moreover, not particularly interesting détournements of previous modernist advances: Joan Miró redid Paul Klee; Max Ernst redid Giorgio De Chirico. Even the best Surrealist writing on the everyday—Michel Leiris—descended into a sort of queer empiricism.³⁰ “Never opting firmly either for a poetry made by all or for the venality of the ruling system, Surrealism took something of both and produced an impoverished cultural hodgepodge.”³¹ One suspects Clark would not entirely disagree.

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