According to Gilles Deleuze, modern art developed on interchangeable series and circular structures. The birth and development of psychoanalysis, particularly reflections on the concepts of repetition and simultaneity, profoundly influenced this new form. The little-known work Droit de regards, composed of ninety-nine shots by photographer Marie-Françoise Plissart, accompanied by thirty-six pages of commentary by philosopher Jacques Derrida, fits into the tradition of serial thinking in art and, especially, photography (consider, for example, the enigmatic photographic sequences of Duane Michals) and is an emblematic example of the pervasiveness of the serial form in the aesthetics of the twentieth century and its relationship with the emerging science of subjectivity. The essay will analyze how Plissart’s photographs, interlinking with each other and giving rise to «temporalités sérielles» (Derrida 1985), impose the construction of an “off-center” movement and, for this reason, do not define a narrative horizontality. More than a story, «pas d’histoire» insists Derrida from the very first pages of the commentary, Droit de regards is a dissemination of gazes, a multiple concatenation of subjectivities: the abandonment of representation towards an informal, bottomless chaos, which has no other law than its own circular and serial repetition (Deleuze 1971).
Soggettività e temporalità seriali in Droit de regards di Jacques Derrida e Marie-Françoise Plissart
Tassone M
2025-01-01
Abstract
According to Gilles Deleuze, modern art developed on interchangeable series and circular structures. The birth and development of psychoanalysis, particularly reflections on the concepts of repetition and simultaneity, profoundly influenced this new form. The little-known work Droit de regards, composed of ninety-nine shots by photographer Marie-Françoise Plissart, accompanied by thirty-six pages of commentary by philosopher Jacques Derrida, fits into the tradition of serial thinking in art and, especially, photography (consider, for example, the enigmatic photographic sequences of Duane Michals) and is an emblematic example of the pervasiveness of the serial form in the aesthetics of the twentieth century and its relationship with the emerging science of subjectivity. The essay will analyze how Plissart’s photographs, interlinking with each other and giving rise to «temporalités sérielles» (Derrida 1985), impose the construction of an “off-center” movement and, for this reason, do not define a narrative horizontality. More than a story, «pas d’histoire» insists Derrida from the very first pages of the commentary, Droit de regards is a dissemination of gazes, a multiple concatenation of subjectivities: the abandonment of representation towards an informal, bottomless chaos, which has no other law than its own circular and serial repetition (Deleuze 1971).I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
