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Chapter 11 From Aesthetics to the Abstract Machine: Deleuze, Guattari and Contemporary Art Practice Simon O’Sullivan The following essay is in three inter- related parts. The rst section intro- duces and attempts to think through a certain kind of contemporary art practice utilising what might loosely be called a Deleuzian frame- work (and via an argument that is in part made against  Craig Owens and Nicolas Bourriaud). This section begins with an account of my encounter with a particular object and an art scene that contributed to my own rethinking about what contemporary is and what it does. The second section revisits some of the points made in the rst but is more explicit (and abstract) in its mobilisation of Deleuze’s thought in that it takes concepts from across Deleuze and Deleuze and Guattari’s corpus of work and brings them to bear on the eld of contemporary art prac- tice in general. The third brief and concluding section homes in on one particular concept and also turns to Guattari’s solo writings in order to think a little more about what I take to be one of contemporary art’s most important characteristics: its future orientation (and it is in this sense, ultimately, that contemporary art names not just a type of art, but art’s very diagrammatic function). Aesthetics and Art Practice It seems to me that a new style – or attitude – has emerged in some of the contemporary art that has recently been exhibited in London and indeed elsewhere in Britain. A style that, I want to claim, has a certain resonance with Deleuze’s philosophy, and, as such, I want to use it as a personal and somewhat idiosyncratic ‘way in’ to think about the conjunction Deleuze and contemporary art. It is a style at odds with the more conceptual and post- conceptual work of the 1980s and early ’90s; that work, we might say, involved attention to the signi er and indeed an emphasis on art as sign (albeit one often in crisis). One of M2147 - O'SULLIVAN PRINT.indd 189 14/1/10 08:10:50

Aesthetics to the Abstract Machine

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