With “schizoanalysis” Deleuze and Guattari developed a notion and a praxis that challenges and re-engineers psychoanalysis. It discloses the positivity of schizophrenic language and of schizoid processes, seeing the fundamental multiplicity of the “I” as a source of inventiveness and creativity. The “split ego” is no longer considered as a problem requiring therapy (Freud),but rather as an opportunity for new modes of affect and rhizomic interconnection. According to Eugene Holland, “schizoanalysis transforms psychoanalysis so as to include the full scope of social and historical factors in its explanations of cognition and behaviour.” Critically, schizoanalysis focuses on the concrete, material, and mechanic operation(s) of the unconscious, insisting in its creative power, rather than in its repressive/repressed function. In place of interpretation, schizoanalysis suggests infinite modes of experimentation. Instead of considering desire as determined and conditioned by the real, schizoanalysis offers diverse tools to understand how desire produces the real. It is precisely at this triple intersection between psychic life, the production of the real, and the emergent fractality of the unconscious that schizoanalysis becomes particularly relevant and promising for artistic research. The convergence of an artist that conducts research with a researcher that makes art in one single person conveys new modes of making and theorising art, concretely demonstrating the productive powers of the divided “I.” The artist-researcher reveals her- or himself most productively not as individual, but as a dividual entity par excellence. Bringing together artist researchers and philosophers, this dialogue aims at mapping some recent developments around the notions of schizoanalysis in relation to artistic research.
Paulo de Assis, chair
about the author(s)
Piotrek Świątkowski is a Lecturer at Rotterdam Business School and an independent researcher in philosophy. He is author of Deleuze and Desire: Analysis of The Logic of Sense (Leuven University Press 2015).
info & contact
Radboud University, Nijmegen, NL
p_swiatkowski [AT] hotmail.com
Both a Distinguished Research Professor and a Josiah Meigs Distinguished Teaching Professor, Dr. Ronald Bogue retired in 2014, continuing to conduct research as well as serve on graduate committees. His areas of research include literary theory and the comparative study of the arts. His books include Deleuze and Guattari (Routledge, 1989), Deleuze on Literature (Routledge, 2003), Deleuze on Cinema (Routledge, 2003), Deleuze on Music, Painting, and the Arts (Routledge, 2003), and Deleuze’s Wake (SUNY Press, 2004).
info & contact
University of Georgia, Athens, US
rbogue [AT] uga.edu
Ian Buchanan is Professor of Cultural Studies at the University of Wollongong, Australia. He is the founding editor of the Deleuze Studies journal and the author of the Oxford Dictionary of Critical Theory, as well as the editor of four book series: Deleuze Connections (EUP), Critical Connections, Plateaus (EUP), and Deleuze Encounters (Continuum).
info & contact
University of Wollongong, AU
ibuchana [AT] uow.edu.au
Guillaume Collett is Research Fellow in the Centre for Critical Thought, University of Kent, where he received his PhD on Deleuze’s ontology of sense. He is the author of The Psychoanalysis of Sense: Deleuze and the Lacanian School (Edinburgh UP, 2016), and co-editor of “Deleuze and Philosophical Practice,” Deleuze Studies (2013), as well as chapters and articles on and translations of French philosophy and psychoanalysis. He is working on two book projects: an edited volume on Deleuze and transdisciplinarity and a monograph provisionally titled The Semiotics of Immanence: Deleuze and Guattari’s Critique of Structuralism. He is co-editor of the journal La deleuziana.
info & contact
University of Kent, Canterbury, UK
guillaume.collett [AT] hotmail.co.uk
jan jagodzinski is a Professor in the Department of Secondary Education, University of Alberta in Edmonton, Alberta, Canada, where he teaches visual art and media education and curricular issues as they relate to postmodern concerns of gender politics, cultural studies, and media (film and television). He is a founding member of the Caucus on Social Theory in Art Education (NAEA), past editor of the Journal of Social Theory in Art Education (JSTE), past president of SIG Media, Culture and Curriculum, Editorial Board Member for Psychoanalysis, Culture & Society (PCS) Advisory Board for Journal of Lacanian Studies (JLS), Review Board for Studies in Art Education (SAE), Journal of Curriculum Theorizing (JCT), Journal of Cultural Research in Art Education (JCRAE), Visual Culture & Gender; and Co-series editor with Mark Bracher of the book series Pedagogy, Psychoanalysis, Transformation (Palgrave Press). He is the author of The Anamorphic I/i (Duval House Publishing Inc, 1996); Postmodern Dilemmas: Outrageous Essays in Art & Art Education (Lawrence Erlbaum, 1997); Pun(k) Deconstruction: Experifigural Writings in Art & Art Education (Lawrence Erlbaum, 1997); Editor of Pedagogical Desire: Transference, Seduction and the Question of Ethics (Bergin & Garvey, 2002); Youth Fantasies: The Perverse Landscape of the Media (Palgrave, 2004); Musical Fantasies: A Lacanian Approach (Palgrave, 2005); Television and Youth: Televised Paranoia (Palgrave, 2008); The Deconstruction of the Oral Eye: Art and Its Education in an Era of Designer Capitalism (Palgrave, 2010); Arts Based Research: A Critique and Proposal (Sense Publishers, in progress), and Misreading Postmodern Antigone: Marco Bellocchio’s Devil in the Flesh (Diavolo in Corpo) (Intellect Books, in process).
info & contact
University of Alberta, Edmonton, CA
jan.jagodzinski [AT] ualberta.ca
Bracha L. Ettinger
Bracha Lichtenberg Ettinger is an international artist-painter, artist-theorist, psychoanalyst, and philosopher working in oil painting, drawing, photography, notebooks and artist’s books, video art, conversations, lecture-performances, and encounter-events. Her solo shows include Silesian Museum (Muzeum Śląskie), Katowice 2017; Eurydice—Medusa at Arter in 14th Istanbul Biennial, 2015; Museum of the City of St. Petersburg (2013); Musée des Beaux-Arts d’Angers (2011); Alma Matrix (dual ex.) at Fundació Antoni Tàpies, Barcelona (2010); Freud Museum, London (2009); Finnish Academy of Fine Arts, Helsinki (2009); Kiasma, Helsinki (2006); Drawing Center, New York (2001).
Her recent exhibitions in 2017 include Colori, GAM, Turin; The Image of War, Bonnier Konsthall, Stockholm; Encounters/Ontmoetingen, MAS/KMSKA, Antwerpen; Lyric on a Battlefield, Gladstone Gallery, New York; The Haunted House / The Human Condition, National Center for Contemporary Art, Museum of Modern Art and Jewish Museum and Tolerance Center, Moscow. Earlier exhibitions include Stedelijk Museum, Amsterdam (Kabinet, 1997); Centre G. Pompidou, Paris (Face a L’Historie, 1996, elles@pompidoucentre, 2010); Konstmuseum. Göteborgs (Aletheia, 2003); National Museum for Women in the Arts, Washington, Whitechapel, London
23 (Inside the Visible, 1996).
Books dedicated to her art include And My Heart Wound-space (Istanbul Biennial, 2015); Art as Compassion: Bracha L. Ettinger (edited by Catherine de Zegher and Griselda Pollock, 2011); Le Cabinet de Bracha (edited by Patrick le Nouene, 2011).
Born in Israel in 1948, Bracha moved to Paris in 1981 and worked mainly there until 2003. She now works between Paris and Tel Aviv. She is the author of numerous articles and several books on art and psychoanalysis, aesthetics and ethics, including Regard et Espace-de-bord matrixiels (La lettre volee, 1999) / The Matrixial Borderspace (essays from 1994–1999) (University of Minnesota Press, 2006). Several books with her selected papers are soon to appear in English (Palgrave Macmillan) and in Spanish (Gedisa). She is Chair and Professor of Art and Psychoanalysis at the Division of Philosophy, Arts and Criticism.
info & contact
Artist. Psychoanalyst. European Graduate School, Saas-Fee, CH