Painting and hysteria: the logic of sensation and non- representative figures in Bacon and Deleuze
The article tries to show some elements of the Deleuzian analysis of the painting by Francis Bacon, focusing on the aspects that allow us to consider such painting as viscerally anti-representational. Bacon’s painting figures sensations, promoting, at the same time, experimentation and new corporeal...
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| Tipo de documento: | Artículo |
| Estado: | Published version |
| Fecha de publicación: | 2014 |
| País: | Brasil |
| Institución: | UFPR |
| Repositorio: | Revista Dois Pontos (Curitiba. Online) |
| Lenguaje: | Portugués |
| OAI Identifier: | oai:ojs.pkp.sfu.ca:article/32809 |
| Acceso en línea: | https://revistas.ufpr.br/doispontos/article/view/32809 |
| Nivel de acceso: | Acceso abierto |
| Palabra clave: | Deleuze Bacon figure sensation hysteria body figura sensação histeria corpo. |
| Sumario: | The article tries to show some elements of the Deleuzian analysis of the painting by Francis Bacon, focusing on the aspects that allow us to consider such painting as viscerally anti-representational. Bacon’s painting figures sensations, promoting, at the same time, experimentation and new corporealities through this figural production. Thinking of the relationship between bodies and the forces acting on them, causing the sensory waves to occur, Deleuze conceives of painting in general, and Bacon’s in particular, as a paradoxical and hysterical experience of thought, experiment in which body and mind are maximally articulated. |
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