Oldal 107 [107]
OCR
LLEWELLYN BROWN where “[p]roperly administered rewards and punishments in a comparatively controlled environment [...] could achieve the same results with men and women.””? Nauman executes his movements following the geometrical lines on the floor of his studio, in a space that assumes an abstract appearance owing to the camera being turned counter-clockwise at a 90° angle, partially voiding the image of its referential capacity. Three-dimensional space is flattened out: a black line around the base of the wall divides the image into roughly 1:3 proportions between wall and floor, with a white diagonal line across the floor. Nauman’s movements are thus situated in relation to an abstract grid, recalling Watt’s cardinal directions. Nauman’s construction shows how such abstraction only exists as a function of subjective and bodily reality. Indeed, Gérard Wajcman points out that geometrical abstraction of the early 20" century was not only a means of liberation from figurative painting, but that painters such as Kazimir Malevich and Piet Mondrian sought out “the paths of an emancipation from pictorial geometry with regards to geometry itself, either by tracing squares that were not really square, or by breaking straight lines.”*° Malevich’s Black Square (1915) is a prime example, “marred” by its uneven edges traced freehand, so that it is only “grossly a square, a square from afar.”*! Indeed, in Nauman’s video, pointedly obeying the dictates of an abstract geometrical structure means producing a surplus: the part of human existence that remains excluded from strict conformity to commands. Wajcman notes that geometry “is not pure mathematics,”” “number devoid of meaning”; rather, “it is numbers in image” referring, in the final analysis, to the representation of the human body. Hubert Damisch states that perspective painting cannot be reduced to geometry, since it is “given to be seen, in the same way as any other object of the visible world.”# There is thus a split between geometry as abstract, and its embodiment in the image or any work of creation, so that subjectivity inevitably leaves a “blot”** on the object, to use Beckett’s own words. See Storr: An Incantation for Our Time, 71. 30 Gérard Wajcman: Fenétre: chroniques du regard et de l’intime, Lagrasse, Verdier, Philia, 2004, 129. Bruno Eble also notices Nauman leaving a margin between himself and the square: Bruno Eble: Le Miroir sans reflet: considérations autour de l'œuvre de Bruce Nauman, Ouverture philosophique, Paris, L'Harmattan, 2001, 50. 31 Gérard Wajcman: L'Objet du siècle, Lagrasse, Verdier, Philia, 1998, 47. Wajcman: Fenêtre, 127. % Hubert Damisch: L'Origine de la perspective, Paris, Flammarion, Champs arts, 1987, 67-68. % Beckett in Jonathan Kalb: Beckett in Performance, Cambridge University, 1989, 233. + 106 +
