I came across the Slovenian theorist/writer Slavoj Žižek in the recent movie The Pervert’s Guide to Ideology, in which he passionately used scenes from Hollywood movies to spotlight his observations about the humanist struggle against repression and totalitarianism in oppressive capitalist systems.
His actual ideas were so densely intellectual, and delivered in such a rapid-fire manner, that I truthfully understood very little. But god (if I may use that word in reference to Žižek, an atheist), was he ever a fascinating cultural critic and film buff! In Pervert, he claims that one of John Carpenter’s more obscure horror movies — 1988’s They Live, in which aliens use subliminal advertising to control humans — is one of Hollywood’s most radically leftist movies ever.
Wanting to learn more about Žižek (pronounced Zhi-zheck), I discovered University of Cincinnati’s College of Design, Architecture, Art and Planning was hosting the second-ever International Žižek Studies Conference and Exhibition. And it was going to focus on “parallax future(s) in art and design, ideology and philosophy.” Not only was it going to have a strong visual-art component, but Žižek himself was going to give a keynote lecture. So I attended last weekend.
It attracted around 100 or so Žižek scholars, students, artists and others from around the world — someone came from China. With panel discussions and workshops bearing titles like “Visualizing Metalepsis in Sites of Exception,” it wasn’t easygoing.
Struggling to understand the concept of “parallax futures,” an important one in Žižek studies, I asked the DAAP coordinator of the conference, assistant professor Kristopher Holland, what that meant.
“We’re trying to figure it out,” he said. He also explained, as an example, that F.
Scott Fitzgerald had first written and published Tender Is the Night one way, with flashbacks, in 1934, to poor reception. He then authorized a reconstructed version that was published posthumously in 1948. “So when we talk about Tender Is the Night, what are we talking about? Both exist. There are two ways of looking at things,” he said.
The art for the most part was quite interesting. At the conference site, the mazelike DAAP building, several artists either had installations or did performances. Sue Wrbican from George Mason University encased a 1960s-era sail inside a 20-foot-high open bamboo construction to suggest the difficulty of navigating “between reality/fiction and male/female.”
Nearby, Mira Gerard of East Tennessee State University intermittently reclined on a homey fainting couch and quietly read aloud from journals about her ongoing Lacanian psychoanalysis.
In conjunction with the conference, DAAP’s Noel Anderson worked with Hebrew Union College’s interim museum director Abby Schwartz to curate a small but choice art exhibit called Parallax Futured: Transtemporal Subjectivities at HUC’s Skirball Museum. (It’s up through May 14.)
The pieces tend toward minimalism and conceptualism with a twist. For instance, Tyler Hamilton’s “Untitled” features a concrete cube on which three metal legs have been attached, making it a kind of faux camera and tripod. And a beautiful small oil painting called “Mattress” by Zoran Starcevic is a close-up of gray-white mattresses seams, the repetition interrupted by a black diagonal slash. Is it, too, painted…or real? You want to touch it to find out.
But the art — and everything else — took a backseat to Žižek’s own appearance Saturday afternoon. The DAAP auditorium attracted a couple hundred people who were enthralled by a rambling but fiery lecture (with Q&A) that went past two hours.
Talking excitedly while compulsively tugging at his sweater or his face, the 65-year-old Žižek touched on so many topics so fast, good luck keeping track — Jacques Lacan to Ayn Rand, Marx to Edward Snowden, post-Colonial Africa to the Holocaust, the pending failure of global capitalism and so on.
But it wasn’t a dry dissertation by any means — the talk was peppered with non-academic words like “bullshit,” “stupid” and “blahblahblah.” And also with more of his fascinating, contrarian film references — he prefers Abraham Lincoln: Vampire Hunter to Spielberg’s Lincoln because it shows the violence of the fight against slavery.
He believes Bela Lugosi’s 1932 horror classic White Zombie is vividly about class struggle. And he highly recommended the DVD of thriller The Butterfly Effect — “with the great American artist Ashton Kutcher,” he said sarcastically — for the atheist aesthetics of its “much more radical” non-theatrical-release ending.
As the applause finally ended, like at a Rock concert, I thought whatever else, he needs his own TV show. Maybe At the Movies With Slavoj Žižek?
CONTACT STEVEN ROSEN: email@example.com