Page 9 - 1. Foul Perfection Thoughts on Caricature Author Accueil Artpress

approaches the theme of the end of the world not as a cataclysm but as a slow process of ho-
mogenization. Time stops when things have been reduced to one essential property—crystal,
earth, water. The positive aspects of this transformation—a version of the mystical notion that “all
is one”—are here equated with a kind of addiction: in The Crystal World, characters previously
crystallized but now revived seek to return to their pleasant, former state of nonidentity. The im-
pulse brings to mind Roger Caillois’s definition of mimicry in nature as “depersonalization by as-
similation to space” 19 and, ultimately, Freud’s concept of the death instinct—the desire to
annihilate the ego reflecting a desire to return to the uterine existence before the ego’s formation.
The death instinct is embedded in a good deal of the art production of the 1960s and
1970s, especially minimalism and serial practices concerned with the objectification or freezing of
time through repetition. Though the surface meaning of much of this art has to do with structure
and material, such works ultimately refer back to and mirror the bodily presence of the viewer. The
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basis of Michael Fried’s attack on minimalism, this thesis was borne out in later body art, which ap-
plied reductivist tendencies to complex psychological and corporeal issues. If minimalism was well
mannered, this work was viewed as confrontational—even grotesque. Bruce Nauman’s films of re-
peated body movements and manipulations (e.g. Pulling Mouth, 1969; Face Up, 1973), Vito Ac-
conci’s evocation of architectural libido in Seedbed (1971), Chris Burden’s packaging of the fear of
violence as sculpture in Shoot (1971)—were all posed across the modernist moral schism between
form and decoration: they proposed an aesthetic of sculpting with flesh. The very practices that Loos
had attacked as “criminal” were in body art perversely redefined as essential gestures—marking the
body, piercing it, distorting it. Yet all this was done in a removed, formal way. The difference between
the distortion of the body in much body art and in expressionist performance and painting can in
some ways be compared to one distinction between the grotesque and caricature: in caricature, dis-
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tortion serves a specific purpose, in most cases to defame, while in the grotesque it is done for its
own sake, as a formalized displacement of parts. Its only purpose is to surprise the viewer.
From this formalist point of view, the whole low-art pictorial tradition of the monster can
be viewed as an expression of the pleasure of shuffling the components of a form. (Psychologically,
however, there is a great difference between shuffling squares on a paper, or flowers in a vase, and
reordering the human figure.) The grotesque displacement of the order of the body is a mainstay of
popular art. Cartoons and horror films provide numerous examples of it, and in many of these the
move toward abstraction is consciously erotic. The ambiguous humanity of these distorted images