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Performing More-Than-Human Corporeal Connections in Kiki Smith’s Sculpture

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Stępień J.
Text Matters: A Journal of Literature, Theory and Culture
|
2021
|
issue 11
225-239
EN
The article examines work by contemporary American artist Kiki Smith, who proposes a future in which human and nonhuman bodily borders merge. The artist’s contribution to the more-than-human artistic entanglements is juxtaposed with Joseph Beuys’s artistic manifesto from 1974 which proposes, among other things, an attempt to get outside of the represented human towards the asignified ahuman. In Kiki’s sculpture, both human and nonhuman animals undergo constant morphogenesis, becoming hybrid forms far beyond the human-social paradigm, implying that the human and nonhuman binary, due to the exchange of affective entanglements, is no longer valid in the heyday of techno-scientific development. The analyzed work shows that both human and nonhuman bodies are raw materials not separated from one another but always interconnected with the world and its ongoing material processes. Thus, the article emphasizes that it is only through the transgression of the human and nonhuman border that one can acknowledge the more ethical and political ways of cooperation needed for the appreciation of the multispecies dimension of our world and its survival.
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Transgression of Postindustrial Dissonance and Excess: (Re)valuation of Gothicism in Jim Jarmusch’sOnly Lovers Left Alive

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Stępień J.
Text Matters: A Journal of Literature, Theory and Culture
|
2016
|
vol. 6
213-226
EN
The paper gives insight into the revaluation of popular Gothic aesthetics in Jim Jarmusch’s 2014 production Only Lovers Left Alive. Drawing on critical theory and the postmodern theoretical framework, the article suggests that the film transgresses contemporary culture immersed in a “culture of death” that has produced a vast amount of cultural texts under the rubric of “Gothicism.” By considering Jean Baudrillard’s concept of transaesthetics and Judith Halberstam’s writings on contemporary monstrosity, the paper shows that a commodified Gothic mode has lost its older deconstructive functions that operated on the margins of the mainstream. Now entirely focused on the duplication of the same aesthetic codes and signs, Gothic productions conform to the rules of postindustrial culture, enriching entertainment imagery with the neutralized concept of “otherness.” Hence, the article engages primarily with Jarmusch’s indie aesthetics that goes beyond easily recognizable patterns and generic conventions and allows the director to emphasize that the arts are rejuvenating forces, the antidote to a commoditized environment. Then, the focus is on the construction of main characters-Adam and Eve, ageless vampires and spouses-who thanks to nostalgic theatricality and performance reconfigure the mainstream monstrosity. Ultimately, the article emphasizes that Jarmusch’s film, to a large extent, becomes a warning against the inevitable results of advanced capitalism practiced on a global scale.
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Book Reviews

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Stępień J.
International Studies. Interdisciplinary Political and Cultural Journal
|
2013
|
vol. 15
125-128
4
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Book Reviews

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Stępień J.
International Studies. Interdisciplinary Political and Cultural Journal
|
2014
|
vol. 16
125-128
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