The Evil Painter
- Research Unit Image
- Research Group Art, Space & Context
"The Evil Painter" is an invented semantic model aimed at evading the norms of its designated public sphere. It dismisses "good" or "bad" as constraining aesthetic categories assigned to painting and straightforwardly makes a claim for an ethical and political evaluation of its network of concepts. By approaching the political it claims that artistic creation is embedded in the existing political formations and by refusing its designated definition it preserves its own right to define, the right to create a nomos of its own, demonstrating how art may be able to conceive new political platforms. This "right to define" constitutes the first condition of establishing a counter-public that questions the legitimacy of the dominant public.
"The Evil Painter" aims at connecting artistic practice with formations of counter-publics and wishes to research the potentials of arts to support and generate counter-publics. In both western capitalistic societies and the former Third World, the recent years brought a wave of public dissent which grew from counter-publics and its intentional political mobilization aimed at intervening in the public sphere and forming resistant collective identities. Counter-publics that are showing "other" ways of ordering the society, or simply practicing "otherness" that aims at political, social or ethical poiesis is becoming an increasingly relevant factor in expanding the framework of social order.
With their embedded sense of the individual behind and the historical connotations contained in the medium, painted and drawn images introject their subjects to a point when the subject, the picture and the author become one and the same. Painted and drawn pictures are constantly asking us where exactly are we, as biological and social individuals, positioned in relation to the subjects represented. "The Evil Painter" as a code for researching resistant identities does not wish to enter the performative arena of politics and social movements, but it rather wants to create its own artistic output that juxtaposes micro-narratives against the backdrop of official politics and establishes parallels to the explanations given by the dominant publics. To research the models for art to conceive an oppositional discourse that is, in itself, a formation of counter-publics.
- Supervisor: Peter Vermeersch
- Co-Supervisor: Wim Lambrecht
- Duration: 2011-15
- E-mail: email@example.com