Deleuze dictionary definition of Disjunctive synthesis (Claire Colebrook)
‘At its most general, the disjunctive synthesis is the production of a series of differences. The significance of the concept of disjunction in Deleuze’s work is threefold. First, whereas structuralism conceives difference nega- tively, such that an undifferentiated or formless world is then differenti- ated by a structure. Deleuze regards difference positively, so disjunction is a mode of production. There is a potential in life to produce series: a desire can attach to this, or this or this; a vibration of light can be perceived as this, or this, or this. Second, the differences of disjunction are transversal. There is not one point or term (such as consciousness or language) from which differences are unfolded or connected; consciousness can connect with a language, a machine, a colour, a sound, a body, and this means that series may traverse and connect different potentials. Sexual desire, for example, might leave the series of body parts – breast, or mouth, or anus, or phallus – and invest different territories – the desire for sounds, for colour, for movements. Finally, disjunction is not binary. Life should not be reduced to the miserable logic of contradiction or excluded middle – either you want liberalism or you don’t; either you’re male or female; either you’re for the war or for terrorism – for disjunction is open and plural: neither liberalism nor terrorism, but a further extension of the series.’
My practice is similar to postmodern artist Sherrie Levin. The idea of using wood and the specific grain as a medium in itself for its aesthetic properties alongside a medium which compliments it.
My pieces not only use the nude figure from early traditional nude paintings but also have a similarity to early renaissance paintings.
Mendieta changed the way Woman were presented as landscapes. Instead, the use of her body memorialized the connection of humans to the universe. Her art was a tool to connect to a spiritual eternity and to think time and history as factors of nature.
Her ‘Earth-body art’ acts as a dialogue between the landscape and the female body.
Her sustained use of the body’s simplified and often nude form to depict both presence and its opposite, absence is an essential component to her work whether denoting the human or the ethereal.
I am interested in Medieta in relation to her feminist stance (as well as her connection with land/nature) of her work on the fluidity of gender and the manipulation of her own body parts which blur the line between male/female identification.
I am focusing on the way Mendieta has used body absent art which in my opinion gets rid of the male gaze. Although she also creates art where her body is present but in disguise.
The revision of the modernist subject by Schneemann who deployed her sexualised body in and as her work within the language of abstract expressionism but against the grain of its masculinist assumptions.
Schneeman’s motivation: “In 1963 to use my bodyy as an extension of my painting-constructions was to challenge and threaten the psychic territorial power lines by which woman were admitted to the Art Stud Club.”
-Not only does Schneemann clearly refuse the fetishising process, which requires that the woman not expose the fact that she is not lacking but possesses genitals (and they are nonmale), she also thus activates a mode of artistic production and reception that is dramatically intersubjective and opens up the masculinist, racist ideology of individualism shoring up modernist formalism.
Amelia Jones says that, ‘By exaggeratedly performing the sexual, gender, ethnic, or otherwise non normative body artists even more aggressively explodes the myths of disinterestedness and universality that authorise these conventional modes of evaluation.’