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Corpus Delicti*
ROSALIND
KRAUSS
The smoker
puts thelast touchto his work
heseeksunity
between
andthelandscape
himself
- Andre Breton'
A prominentsurrealistpainter, writingin 1933, imagines the following
scene:
A man is staring dreamily at a luminous point, thinkingit a star, only
rudely to awaken when he realizes it is merely the tip of a burning cigarette.
This man is then told that the cigaretteend is in factthe only visible point of an
immense "psycho-atmospheric-anamorphicobject," knowledge, our writer
assures us, that will instantlycause that banal point of burning ash to "recover
all its irrational glamour, and its most incontestable and dizzying powers of
seduction."
These objects--psycho, atmospheric,and anamorphic--we have already
been told, are complex reconstructions,made in the dark, of an originalobject,
chosen in the dark fromamong many others. The reconstruction,allowed to
drop (still in the dark) froma ninety-footheight, to render it unrecognizable
even ifable to be seen, is then photographed. Still withoutbeing looked at, this
photographis then sunk into a molten cube of metal which hardens around it.
This reproduced shadow of an unseen shadow, in the vise of its now inertcase,
our writerwill subsequently referto as informe,
unformed.
Our writer,who can only be Salvador Dali, goes on to imagine the story
he will tell his now-rapt listener, about the historyof this particular object,
whose burning tip only can be seen. This history,of extremecomplexity,will
persuade the listenerbeyond a shadow of a doubt that among other elements
buried in the object are "two authenticskulls- those of Richard Wagner and of
Ludwig II of Bavaria. And," Dali adds, "it will be demonstratedthat it is these
two skulls, softenedup by a special process, that the cigaretteis smoking."The
A version of this essay will appear in Rosalind Krauss and Jane Livingston, L'Amourfou:
*
Surrealism
and Photography,
New York, Abbeville Press, 1985.
1.
"Le fumeur met la derniere main a son travail/ II cherche l'unite de lui-meme avec le
paysage," from"Le soleil en laisse," Clairede Terre,Paris, Gallimard, 1966.
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au service
that
de la revolution
nonethelesshave occupied the page in Le Surrialisme
carried Dali's text, hardly unusual for the photographerwhose work was instantlyto be fullyintegratedinto the full range of surrealistliteraryspaces.
From 1924 Man Ray was treatedas a kind of staffphotographerforLa Revolutionsurrialiste,
contributingsix images to its firstissue. Afterturningover to his
assistantJacques-Andr6 Boiffardthe illustrationof Breton's Nadja, Man Ray
to make photographsthat
went on to contributeimages to Breton'sL'Amourfou,
would be chosen by Tristan Tzara to electrifyhis text on the "Automatismof
Taste," or to set up shots of phantoms to illustrate a 1934 Dali essay on
"AerodynamicApparitions."
But Head, New Yorkis notjust an isolated case in Man Ray's work,a lucky
coincidence that Dali could have found and used but, as chance would have
it, did not. Its strategiesare repeated within the scope of Man Ray's photographic output, defamiliarizingthe human body, redraftingthe map of what
is another such
we would have thoughtthe most familiarof terrains.Anatomy
image, with similar, unsettlingeffects.Once again human fleshpyramids to
the top of the page, but here there is no invertedhead, no reassuring eyes
34
OCTOBER
CorpusDelicti
P62
Untitled.1930.
Boiffard.
Jacques-Andri
35
36
P60
P64
OCTOBER
Two of the standard works on Breton are so subtitled: Anna Balakian, AndreBreton.5.
Magus
New York, Oxford UniversityPress, 1971; and CliffordBrowder, AndriBreton,ArofSurrealism,
biterofSurrealism,
Geneva, Droz, 1967.
announced the opening of Le Bureau Central
Surrialiste
The firstnumber of La Revolution
6.
de Recherches Surrealistes, giving its address as 15, rue de Grenelle. The cover photomontage
for this number pictures the surrealistsassembled there.
7.
Among many others they were publicly expelled in the "Second Manifeste du
Surr alisme," La RevolutionSurrialiste,No. 12 (December 1929), pp. 1-17; translated in Andre
Ann Arbor, The University of Michigan Press, 1969.
Breton, Manifestoes
ofSurrealism,
See Dawn Ades, Dada and SurrealismReviewed,Arts Council of Great Britain, London,
8.
1978, pp. 228 ff.
CorpusDelicti
37
38
OCTOBER
having lost his seat of reason - his head - this creatureis another avatar of the
10
informe.
If I am stressingthisconvergence(if only by proxy)of Bataille and Breton
in the pages of Minotaure,this is because we are not used to reading surrealist
productionthroughthe gridof Bataille's thoughtand on those verygroundswe
mightbe temptedto disallow such images a status as "surreal." But Minotaure's
imprimaturconveyedto themthe movement'sstamp, securingmembershipfor
Hans Bellmer's Poup&es,for example, beyond any doubt that mightbe raised
about the proprietyof this association for the man who illustratedin both
graphic and photographicformBataille's Histoirede l'oeil,a book excoriatedby
Breton as obscene."
ofthelabyrinth,
see Denis Hollier,
ofBataille,theMinotaur,and thefigure
10. Fora discussion
La Prisedela Concorde,
Giacometti,"
Paris,Gallimard,1974,pp. 109-133.See as well,my"Alberto
"Primitivism"
in20thCentury
Art,New York,The Museum of ModernArt,1984,pp. 523-524.
11. Hans Bellmer,"Poupee. Variationssur le montaged'une mineurearticul&e,"
Minotaure,
no. 6 (Winter1935), pp. 30-31. Bataille'sHistoire
de l'oeilwas publishedin 1928 under the
pseudonymLord Auch. Bellmerprovidedetchingsfora subsequentpublicationin 1940. The
thatcan be identified
as relatingto specificscenesfromBataille'snovel(Simone's
photographs
as shesitsin a plateofmilk;Simoneridingnakedon a bicycle;etc.)
seductionofthenarrator
first
have been dated fromthe mid-1940s.See Hans Bellmer,
Paris, Filipacchi,1983,p.
Photographe,
148, cat. no. 129.
Untitled.1930.
Boiffard.
Jacques-Andri
Hans Bellmer.Untitled. 1946.
Oppositepage:
Jacques-Andr?
Boiffard.Untitled. 1930.
CorpusDelicti
39
P64
P65
12.
P66
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iiiiiiiiisiiiii
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Far left.Jacques-Andrd
Bofard. Mouth.
1929.
Left:Raoul Ubac. Irrational Image.
1935.
Thispage.Jacques-Andre
Boiffard.
Untitled. 1929.
Anotherof these mechanisms or devices was the rotationof the very axis
"proper"to man-his verticality,a station that defineshim by separating his
uprightposture fromthat of the beasts-onto the opposing, horizontal axis.
This operation, productive of bassesse,is the one most closely linked to the
photographicpracticewe have been discussing. Two of the textswhich explore
this rotationinto baseness, "The Big Toe," and "Mouth," were illustratedwith
photographsby Boiffard.15 In the essay "Mouth" where the issue of rotationis
most explicit,Bataille contraststhe mouth/eyeaxis of the human face withthe
Mechanism of the Paranoid Phenomenon fromthe Surrealist Point of View." The image from
the Dali/Bufiuel film Un Chienandaluof a razor slicing throughthe open eye of a woman enacts
this sense of aggression. Bellmer also devises a "machine" forassaulting the familiarterrainof the
body: "Onto the photograph of a nude, set an unframed mirrorat a perpendicular angle, and
constantlymaintaining the 90 degree angle, progressivelyrotate it, such that the symmetrical
halves of the visible ensemble diminish or enlarge according to a slow and regular evolution...
Whether, throughthis entrance of the mirrorand its movement, it is a question of the whipcord
that spins the top or the expressive reflexof the organism, we grasp the same law: opposition is
necessary' for things to exist and for a third reality to come into being." Bellmer, "Notes sur la
jointure boule," Hans Bellmer,Paris, Cnacarchives, Centre Nationale d'Art Contemporain,
1971, p. 27.
15. Bataille, "Le Gros orteil,"Documents,
I, No. 6 (November 1929), pp. 297-302; and Bataille,
"Bouche," Documents,II, No. 5 (1930), p. 299.
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43
mouth/anusaxis of the four-leggedanimal. The former,linked to man's verticality,and his possession of speech, definesthe mouth in termsof man's expressive powers. The latter, a functionof the animal's horizontality,understands the mouth as the leading element of the systemof catching,killing,and
ingestingprey, forwhich the anus is the terminalpoint. But to insist,beyond
this simple polarity, that at its greatest moments of pleasure or pain, the
human mouth's expression is not spiritual, but animal, is to reorganize the
orientationof the human structureand conceptuallyto rotatethe axis of loftiness onto the axis of material existence. With this act of Bataille's, mouth and
anus are conflated. Boiffard'sphotograph for this essay is a woman's open
mouth, wet with saliva, its tongue an amorphous blur. A fewyears later Raoul
Ubac would, in effect,recreate this image when he pictured a woman's head
and neck, the head cropped just above her mouth fromwhich depends a long,
organic but at firstindeterminateobject which, upon inspection, turns out to
be a piece of liver. The poster-manifestoAffichez
vospoemes/Affichez
vos images
(1935) was the occasion forthis work.
Ubac's participationin the creation of a photographicformlessnesslinked
to the depiction of the human body was as persistentand as concentratedas
Boiffard'sor Man Ray's ever was. But except forhis SleepingNude, axial rotation was not the device to which he resorted. Instead, he oftenexplored the
technical infrastructureof the photographicprocess, submittingthe image of
the body to assaults of a chemical and optical kind. La Nibuleusewas achieved
by attackingthe emulsion on the negative image of a standingwoman with the
heat of a small burner. The resultantmelting,which ripples and contortsthe
fieldof the photo, is oftenrelated in the scholarlyand criticalliteratureto automatism: the creation of suggestiveimagerythroughthe operations of chance.16
But the titleof thiswork supposes the disintegrationratherthan the creation of
form,and the procedure whose trace suggeststhe workingsof fireis a device for
producing this formlessness.
Ubac's optical assaults on the body took place over a long series of ambitious, complex photomontageswhich he workedout in the late 1930s. Under
the generic titleLe Combatdes Penthisilies,
these images are the results of successive attacks of solarization. In a firststage a montage would be produced,
grouping togethervarious shots of the same nude. This image would then be
rephotographedand solarized, the resultantpositive becoming a new element
to be recombined, throughmontage, withotherfragments,and then to be both
rephotographedand resolarized. Solarization, which bares the light-sensitive
16.
This is how it is characterized, for example, by Nancy Hall-Duncan, Photographic
Surrealism,Cleveland, The New Gallery of Contemporary Art, 1979, p. 8. Eduard Jaguer does not,
however, link brfilageto techniques of the immediate past so much as he sees in it an avatar of the
informel
pictorial preoccupations of the 1940s. See Eduard Jaguer, Les Mysteres
de la chambre
noire,
Paris, Flammarion, 1982, p. 118.
44
OCTOBER
paper of an eventual positive printto a moment'sreexposureduring the printing process, opens the darkestareas of the positive image - usually those very
shadows thatdefinethe edges of solid objects- to what will later read as a kind
of optical corrosion. A mode of producing a simultaneous positive/negative,
solarization most frequentlyreads as the optical reorganizationof the contours
of objects. Reversing and exaggeratingthe light/darkrelationshipsat thisprecise registrationof the envelope of form,solarization is a process that can obIn the most extremeof this work
viously be put to the service of the informe.
Ubac pushes his proceduretowardsthe representationof a violentdeliquescence
of matteras lightoperates on the boundaries ofa body thatin turngives way to
this depicted invasion of space.
Indeed, one of theways we can generalize thewhole of what we have been
seeing so far is that a varietyof photographicmethods have been exploited to
produce an image of the invasion of space: ofbodies dizzily yieldingto the force
of gravity;ofbodies in the gripof a distortingperspective;ofbodies decapitated
by the projectionof shadow; of bodies eaten away by eitherheat or light. We
might say, followingthe usual formulae for explaining the surrealistimage,
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tion, a warning that the fate of playing at chimeras may be that of becoming
one. 17
During the opening years ofMinotaure,Caillois published two long essays,
the firston the praying mantis, the second on the biological phenomenon of
mimicry.These early foraysinto a kind of socio-biologyof consciousness were
writtenout of the beliefthat insectsand humans partake of "the same nature,"
thus eradicatingthe boundaries thatare thoughtto establisha distinct,or properly humannature.'8
Because of the ubiquity of the image of the praying mantis withinboth
poetic and pictorialsurrealism,Caillois's discussion of the gripof thisinsecton
17.
18.
No. 7 (June1935),5.
RogerCaillois,"Mimitismeet Psychasthinie
Ligendaire,"Minotaure,
no. 5 (May 1934), pp. 23-26.
Caillois,"La Mante religieuse,"
Minotaure,
Thispage: SalvadorDali. Le
ph6nom'nede l'extase.1933.
above:Man Ray.Le Primat
Opposite
de la mati'eresur la pensee. 1931.
Oppositebelow:Raoul Ubac. Ophelia.
1938.
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P70
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OCTOBER
human imagination has entered the literatureon the thematicsof the movement.19The female mantis's sexual practices- in certain species its consumption of its mate afteror even during the act of copulation- and its voracity,
made it the perfectsymbol of the phallic mother,fascinating,petrifying,castrating. In this guise the mantis swarms over surrealistwork of the 1930s; in
the paintings of Masson and Dali, in the sculpturesof Giacometti, in the collages of Ernst. It appears as well in anotherguise in one of the rare instancesof
Hans Bellmer's sculptural production, where his Machine Gunneress
in a State
of Grace(1937) depicts the insect in that aspect, also described by Caillois, of
androidlikeautomation. In factit is Caillois's conclusion that it is in this opening onto the imaginative possibilityof the robot, the automaton, the nonsentient, mechanical imitation of life, that the mantis's link to the fantasm of
human sexuality is to be found. And it is just this aspect that connects his
discussion of the mantis with his subsequent exploration of mimicry,for the
mantis comes most stunninglyto resemble a machine when, even decapitated,
it can continue to function,and thus to mime life. "Which is to say," Caillois
writes,"thatin the absence of all centersof representationand of voluntaryaction, it can walk, regain its balance, have coitus, lay eggs, build a cocoon, and,
what is most astonishing,in the face of danger can fall into a fake, cadaverous
immobility.I am expressingin thisindirectmanner what language can scarcely
picture, or reason assimilate, namely, that dead, the mantis can simulate
death."20
Caillois's essay on mimicryhad extraordinaryresonance withinthe psychoanalyticcircles developing in Paris in the 1930s. Jacques Lacan, forexample, continued to express his debt to thistext,particularlyin his workingout of
the concept of the "mirrorstage" and its effecton the formationof the human
subject, a principle he firstpresented publicly in 1936, though he did not
publish it until 1949.21 With this connection, and its explicit attentionto the
operations of doubling, of the replicationof a conscious subject by his pictured
duplicate, we mightalready realize that in some kind of general way this issue
of mimicryopens onto surrealistphotography'spersistentexploration of the
double as a structuralprinciple: simultaneouslyformaland thematic. But in
relationto the images we have been discussing,withtheirdepictionof a curious
invasion of the body by space, Caillois's treatmentof mimicryhas a rather
more specificpertinence.
19.
1973),pp. 600-615.
20.
Caillois, "La Mante religieuse,"p. 26.
21. Jacques Lacan, "Le stade du miroircomme formateurde la fonctiondu Je," Ecrits,Paris,
Seuil, 1966, pp. 93-100; in English as Jacques Lacan, "The Mirror Stage as Formative of the
Function of the I," Ecrits,trans. Alan Sheridan, New York, Norton, pp. 1-7. Lacan cites Caillois's
importance, p. 96 in the French edition and p. 3 in the English.
CorpusDelicti
49
Denis Hollier, "Mimesis and Castration, 1937," October,no. 31 (Winter 1985), pp. 3-16.
50
P74
P78
OCTOBER
24.
Caillois,"Mimitisme,"pp. 8-9.
Ibid.,p. 8.
Jacques-Andri
Boiffard.Untitled. 1929.
Raoul Ubac. Mannequin. 1937.
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OCTOBER
Object
image
Geometral
point
Pointoflight
scr<
Picture
not viewer but viewed. Significantly,this relationshipin which the subject occurs only as alienated fromhimself- forhe is definedor inscribedas a being-seen
without,however, being able to see eitherhis viewer or his own figurein the
viewer's picture- is the one that Lacan constructsas the domain of the essentially visual. For here, where the field of the "picture"separates offfromthe
geometric,ultimatelytactile conception of perspectivalspace, Lacan findsthe
termsof an irresolvableand perpetual tension, and it is here that he is able to
diagram the "scopic drive," to elaborate, that is, the dynamics of a specifically
visual dimension, withinwhich the subject is dispossessed.
The peculiar conception of the visual that Caillois depicted and Lacan
was to go on to develop (most immediatelyin his theoryof the mirrorstage)
both coincides with the primacy that modernistart gave to pure visualityand
conflictswith the utopian conclusions that the theoristsof modernism drew
fromthisidea of optical power. For theirnotionsdid not supportthe modernist
trans. Alan Sheridan, New
25. Jacques Lacan, The FourFundamental
Concepts
ofPsycho-Analysis,
York, Norton, 1981, p. 91.
53
CorpusDelicti
idea of sensuous mastery,with each sense liberated into the purityof its own
experience; the visuality Lacan and Caillois were describing was a mastery
fromwithout,imposedon the subjectwho is trappedin a cat's cradle ofrepresentation, caught in a hall of mirrors,lost in a labyrinth.
Nothingis more available to photographythan thislabyrinthinedoubling,
thisplay of reflection.Characterized as being itselfa mirror(the "mirrorwitha
memory"),the camera nonethelessenacts Caillois's double dihedron. For there
is a fundamentalschismbetween the subject that perceives and the image that
looks back at him, because thatimage, in whichhe is captured, is seen fromthe
vantage of another.
The photograph that Ubac took to accompany Pierre Mabille's article
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26.
It could be argued that stained glass is yet another medium that is reversible. Yet the same
informationis not intelligiblefromthe back of the glass as that applied to its front.
OCTOBER
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28.
Psychological
Sigmund Freud, "The Uncanny," The StandardEditionof theComplete
SigmundFreud,trans. James Strachey, London, The Hogarth Press and the Instituteof PsychoAnalysis, 1953-74, XVII, pp. 234-235. See also, Otto Rank, The Double, trans. Harry Tucker,
Jr., Chapel Hill, The University of North Carolina Press, 1971.
29.
Rank, pp. 62-63.
30.
Nadja opens, "Who am I? If this once I were to relyon a proverb, then perhaps everything
would amount to knowing whom I 'haunt.'" Andre Breton, Nadja, trans. Richard Howard, New
York, Grove Press, 1960.
CorpusDelicti
59
31.
32.
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The fear of a wound to the eye, and the revelationthat the beautiful girl
Olympia is in facta doll/automaton,combine in E. T. A. Hoffman'sstory"The
Sandman" as Freud's firstexample of the uncanny. The frequentsense of the
eeriness of waxwork figures,artificialdolls, and automata, can be laid to the
way these objects trigger"doubts whetheran apparentlyanimate being is really
alive; or conversely,whether a lifelessobject might not be in fact animate."
This confusionbetween the animate and the inanimate, is an instance of that
class of the uncanny that we have already followed, involvinga regressionto
animistic thinkingand its confusionof boundaries. To the effectproduced by
dolls, one could add, Freud acknowledges, the uncanny effectof epileptic
seizures and the manifestationsof insanity,"because these excite in the spectator the feelingthat automatic, mechanical processes are at work, concealed
beneath the ordinaryappearance of animation."34
33.
34.
62
OCTOBER
But Freud's reading of "The Sandman" and its extreme effectof uncanniness turns not simply on the doll's ambiguous presence, but on her
dismembermentwithin the story, a dismembermentthrough which she is
deprived of her eyes. For, in this regard she becomes a figureforthe second
class of the uncanny, which arises fromthe surfacingof anotherorder of infantile experience: that of the complexes, specificallyhere, the fear of castration.
- the first
Hans Bellmer recountsthatin 1932 he saw The TalesofHoffmann
act of which focuses on the Coppelia/Olympia storyderived from"The Sandman"-and it was this that triggeredhis firstPoupie. This entire series, an
endless acting out of the process of constructionand dismemberment,or perhaps the more exact characterization would be constructionas dismemberment, could not be more effectively
glossed than by Freud's analysis of "The
Sandman." For the Poupies- the firstseries of which were constructedin 1933
and published in Minotaurein 1934, while the second series, LeJeu de Poupie,
was finishedby 1936 but not published until 1949- stage endless tableauxvivants
of the figureof castration. Yet there is another section from"The Uncanny"
that is importantforreading Bellmer'sPoupie: in the passage already cited with
regard to the double, we findan analysis of its place in dreams. For the invention of the protectivestrategyof doubling, Freud writes,findsits way into the
language of dreams to operate thereon the subject of castrationby representing
it throughthe multiplicationor doubling of "the genital symbol."
In Bellmer'smanipulation of thiscycle, everythingis concertedto produce
the experience of the imaginaryspace of dream, of fantasy,of projection. Not
only does the obsessional reinventionof an always-the-samecreature--continually recontrived, compulsively repositioned within the hideously banal
space of kitchen, stairwell,parlor- give one the narrative experience of fantasy, with its endless elaboration of the same; but the quality of the image with
its hand-tinted,weirdly"technicolor"glow, and the sense that though it is in
focus, one can never quite see it clearly, combine to create both the aura and
the frustrationthat are part of the visualityof the imaginary.
Within this dream-space the doll herselfis phallic. Sometimes, deprived
of arms, but endowed with a kind of limitlesspneumatic potentialto swell and
bulge with smaller protuberances,she seems the veryfigureof tumescence. At
other times, she is composed of fragmentedmembers of the doll's body, often
doubled pairs of legs stuck end-to-end, to produce the image of rigidity:the
erectiledoll. But in this very pairing that is also a multiplication,a pairing of
the pair, one meets the dreamer'sstrategyof doubling. As he triesto protectthe
threatenedphallus fromdanger by elaborating more and more instances of its
Hans Bellmer.
La Poupde. 1938.
La Poupde. 1938.
Hans Bellmer.
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Edward Weston
37.
Ibid., p. 96.
38. EdwardWeston,"TechniquesofPhotographic
Art,"Encyclopaedia
Britannica,
1941,as cited
in Hollis Frampton,"Impromptus
on EdwardWeston:Everything
in Its Place," October,
No. 5
(Summer1978), p. 64.
39. Barthes,p. 73.
68
OCTOBER
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