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Transfiguration of the Commonplace

Anna Dezeuze
The Old ‘Art and Life’ Chestnut is no difference… The difference between a chair by
Duchamp and one of my chairs could be that
‘Art is what makes life more interesting than art.’ Duchamp’s chair is on a pedestal and mine can still be
Such was the apt definition provided by Robert used.
Filliou, a French artist who was affiliated to the
George Brecht4
Fluxus group in the 1960s.1 The relation between
art and life has long been a recurrent trope of One of Danto’s greatest achievements lies in his
aesthetics and artistic practice of various kinds, analysis of the sudden visibility of the everyday in conditions required for this ‘transfiguration’ of the
and the 1960s was a period when artists seemed 1960s art. Danto has often recounted how seeing everyday into art.8 The question they ask is the
particularly concerned with this issue. Robert Warhol’s Brillo Boxes at the Stable Gallery in 1964 following: does Pop according to Danto allow the
Rauschenberg, for example, famously said: was the trigger for his reflections on the everyday to take over art (‘a return of the
‘Painting relates to both art and life. … (I try to differences between artworks and everyday everyday in art’) or is it rather a moment in which
work in that gap between the two).’2 Allan objects. The Warhol Boxes, he explains in the art seizes the everyday for its purposes (‘a return
Kaprow, the inventor of ‘happenings,’ stated on his introduction to The Transfiguration of the to the everyday by art’)? If, as in the former, Pop
part that ‘the line between art and life should be Commonplace, ‘so totally resemble what by marks a return of the everyday in art, then it
kept as fluid, and perhaps indistinct, as possible.’3 common consent are not art works’ that they means that there is no possibility of its
If it is by now widely acknowledged that the ‘make the question of definition urgent.’5 redemption, since transfiguration can only occur
opening of art to life in the 1960s radically Analysing key notions of illusionism, mimesis, when there is a distance that allows the everyday
changed the definition of art, then these three belief, interpretation, style and expression, Danto to be presented as art. Pop, Horowitz and Huhn
statements alone point to important differences develops the argument that one of the differences conclude, therefore needs to be a return to the
between the forms that this relation (between art between a Brillo box and the new ‘Brillo-box-as- everyday by art in order to remain art. If Pop
and life) can take. Acting in the gap between art work-of-art’ is the fact that the artwork takes the artists did embrace the everyday, then, in contrast
and life like Rauschenberg does not imply the non-artwork as its subject-matter and with Abstract Expressionists before them, they
same kind of activity as creating works which, simultaneously makes a point about how this nevertheless kept a critical distance from it by
according to Filliou, serve somehow as marginal subject-matter is presented. The mode of using it for other purposes than presenting the
tools to make life more interesting than art. And representation thus creates a surplus meaning raw everydayness of their material—in order, for
surely there is quite a substantial distinction which does not allow the two objects to be example, to comment simultaneously about the
between keeping a line fluid, and blurring equated one with another. state of art, the accelerating production and
boundaries altogether, even if Kaprow tentatively ‘Make a salad.’ This 1963 Proposition by Alison increasing sophistication of packaging and
aligns one with another. Knowles is cited by Arthur Danto in a recent essay advertising.9 When Danto claims that Warhol and
My contention is that the reasons why these on Fluxus as one of many examples of the group’s Fluxus question ‘how we view anything if we see it
differences are, more often than not, neglected by engagement with everyday life. In this discussion, as art,’ he is thus implicitly positing this distance
art historians and philosophers alike is that Danto also quotes Brecht’s statement (cited above) from the everyday. As Horowitz and Huhn
discussions tend to forget the other term of the about the difference between his chairs and suggest, the experience which allows the viewer to
relationship. Instead of asking ‘what is art?,’ Duchamp’s readymades. Brecht’s contribution to bind art and the everyday according to Danto can
shouldn’t we be asking: what is life? This question the 1961 exhibition Environment, Situations, only function if this distance is introduced even
is obviously much too general to be answered by Spaces (Six Artists), at the Martha Jackson Gallery before any artistic process takes place: in order to
any one single person, and could indeed be in New York, was the placement of three different make the everyday available for aesthetic
considered as the main question of philosophy chairs in various parts of the gallery. Since experience, the artist, and the viewer, need to
and other forms of enquiry. When it is posed in a viewers had no indication that these chairs were have detached one specific aspect of the
specific context, however, a more precise focus can part of an artwork, some visitors sat on them commonplace (its novelty, its aesthetic qualities,
be singled out for discussion. In the cases of without a second thought, much to Brecht’s its strangeness…) from its original ‘rawness’.
Rauschenberg, Kaprow and Filliou, for example, it satisfaction. While I agree that this ‘pre-aestheticising’
is clear that their concerns lay specifically in the In the same essay, Danto extends to Fluxus his process operates in Pop, I would like to argue that
realm of everyday life, and in particular the earlier discussion of Pop art, revisiting specific Fluxus works such as Brecht’s Three Chair Events
everyday life that had been excluded so forcefully ideas from The Transfiguration of the Commonplace or Knowles’ Proposition shrink the distance
by the Abstract Expressionist generation of which, indeed, seem to fit Fluxus like a glove. In presumed by Danto, in order to explore the
painters and Clement Greenberg’s formalist particular, Danto points to the fact that in the rawness which aesthetics seeks to exclude for the
criticism. 1960s he shared with Fluxus an interest in Zen, sake of transfiguration. This aesthetic distance
In order to explore the relations between art and he reproduces a quote by Zen Buddhist Ching was preserved by Danto, and the Pop artists, by
and what has variously been called the everyday, Yuan which he had included in The Transfiguration eliminating one particular aspect of the everyday’s
the commonplace, the ordinary, the banal, I will of the Commonplace: rawness: use and habit. Brecht has recounted how
be referring in particular to two texts: Arthur Before I had studied Zen for thirty years, I saw once he tried to sit down on the chair included in
Danto’s landmark work, The Transfiguration of the mountains as mountains and waters as waters. When I Rauschenberg’s 1960 combine, Pilgrim, only to be
Commonplace, and a more recent book by the arrived at a more intimate knowledge, I came to the stopped and told that he could not. Recalling his
French curator and critic Nicolas Bourriaud, point where I saw that mountains are not mountains frustration, Brecht explained: ‘After all, if it’s a
Relational Aesthetics. While sketching out the ways and waters are not waters. But now I have got to the chair why shouldn’t you sit in it?’10 Unlike
in which these two authors responded to the very substance I am at rest. For it is just that I saw Brecht’s, Rauschenberg’s chair can no more revert
emergence of the everyday in mountains again as mountains and waters once again to its initial function than Warhol’s painted wood
artistic practices ranging from as waters.6 Brillo boxes. By shifting the emphasis from object
Andy Warhol and Fluxus to The idea that there is nothing internal to these to performance, Fluxus works emphasise use and
1990s contemporary art, I will three experiences which distinguishes them habit, and thus establish a radically different
also examine their ideas in the obviously from one another was in tune with relation to the commonplace. Fluxus picked up
light of theories of everyday life, Danto’s preoccupations with the absence of another aspect of Zen: the full embrace of
in particular Michel de differences between artworks and mere things. everyday activities such as eating, drinking and
Certeau’s 1980 Practice of What, indeed, is the difference between sleeping. For, whether Ching Yuan saw mountains
Everyday Life. Specific artistic performing Knowles’ instruction and the act of as mountains or whether he saw mountains as not
practices will be the guiding making a salad that many of us regularly perform? mountains would never have prevented him from
thread in this discussion, for it is As in the case of Warhol’s Brillo Boxes, Danto climbing one of them when he wanted to go for a
artists who pose the questions concludes: walk. In doing so, he may have been performing a
that aesthetics struggle to Fluxus score by Takehisa Kosugi (Theatre Music, c.
What Fluxus helped us see is that no theory of art could
answer. 1963) which simply reads: ‘Keep walking intently.’
help us pick out which were the artworks, since art can
resemble reality to any chosen degree. Fluxus was right
The Conditions of that the question is not which are the art works, but Relational Aesthetics
Transfiguration how we view anything if we see it as art.7 I started to make things so that people could use them…
In their critical study of Danto’s aesthetics, [My work] is not meant to be put out with other
Between art and everyday life, there
Greg Horowitz and Tom Huhn have discussed the sculpture or like another relic to be looked at, but you
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have to use it… life which art can resist by multiplying new ‘social relations between these two aspects of cooking
Rirkrit Tiravanija11 interstices’: the commercialisation and when he explained that Fluxus ‘reacted against
spectacularisation of inter-personal relations in the pompous image of the artist as a genius with a
Thirty years after the birth of Fluxus in 1962, everyday life. unique, personal style’ by creating ‘simple pieces
artist Rirkrit Tiravanija presented Untitled (Free) By emphasising events, performance, and filled with energy and humour, pieces without any
at the 303 gallery in New York, a work in which he behaviours; alternative modes of exchange over personal stylistic features, pieces that could be
decided to put all the things he found in the unusable, commodified objects; by privileging transmitted orally just like folklore and performed
storeroom and office into the gallery itself, using flexible notions of form instead of trying to define by everyone who wanted to.’17
the storeroom to cook Thai curries for the visitors art, Bourriaud’s relational aesthetics seem to be The third aspect of recipes which Knowles’
to the gallery and leaving the leftovers, kitchen more able to describe the nature of the everyday Proposition brings to the fore is the complex
utensils and used food packets in the gallery when in works by Tiravanija and Fluxus alike. Yet, if relations which recipes set up between process
he was not here. This work is typical of what Danto’s aesthetics may be too restricted to and result. Any cook knows that sometimes, for
Nicolas Bourriaud called a new ‘relational art,’ encompass the variety of relations between art practical reasons, you may need to replace one
which requires a new kind of ‘relational and everyday life, Bourriaud’s ideas, for their part, ingredient by another, but of course, if you replace
aesthetics’ in order to account for its emergence suffer from not being precise enough. There are too many ingredients, then it becomes a whole
and to describe its characteristics. Relational art, many obvious reasons for this: Bourriaud is a critic new recipe. In Fluxus pieces, which emerged from
according to Bourriaud, is characterised by the rather than a philosopher, an advocate rather than the context of experimental music, this relation
fact that it takes ‘as its starting an analyst of these artists, and he is clearly between the specific and the general is akin to the
point human relations and their implicated in the commercial and institutional art relation between a musical score and the ways of
social context, as opposed to world (he is the co-director of the Palais de Tokyo, performing it. How badly does a score by Mozart
autonomous and exclusive art.’12 which was founded a few years ago as an need to be played before ceasing to be a Mozart
Hence, relational aesthetics must institutional showcase for contemporary art in piece? This complex question is central to any
be ‘an aesthetic theory consisting Paris). Perhaps there is even a deliberate decision study of musical performance. The performative
in judging artworks in terms of the on the part of Bourriaud to elude, for the sake of dimension of the recipe is closely linked to the
inter-human relations which they packaging a new generation of artists, the crucial fourth, and final, characteristic which I would like
show, produce, or give rise to.’13 questions of how exactly inter-personal relations to list here. The recipe is one tool among others
Bourriaud’s relational aesthetics have become commercialised and spectacularised, within a process, and cannot be considered as an
could be seen as an alternative to and how getting together to have a curry with isolated object: it is necessarily part of a wider,
Danto’s transfiguration of the Tiravanija somehow resists this state of things. more complex, network which includes
commonplace because it seems to What I would like to underline here is that, ingredients, implements, spaces, family life,
focus precisely on the terms which despite his apparent embrace of the everyday, tradition and innovation, to cite only some of the
the latter excludes. Bourriaud for Bourriaud, like Danto, seems to take for granted a terms analysed by Giard.
example explains that universal definition of the commonplace. Only by Thus, viewed from the perspective of art,
contemporary works such as retrieving the specificity of the everyday can the Knowles’ work questions traditional notions of
Tiravanija’s should not be works discussed by Bourriaud and Danto be authorship and the status of the artwork, but if it
considered as spaces to be walked extracted from the rhetorical uses to which they were to be encountered in a recipe book, for
through but instead as durations to have been subjected. example, it may be read as liberating for the cook.
be experienced, where the By reducing the instructions to a generic
performative aspect of the work is
more important than either objects
Describing the Everyday invitation, Knowles frees cooks from the stringent
demands of the recipe, which dictate a type of
to be viewed in space or the space If [Michel de Certeau’s] Practice of Everyday Life is seen
behaviour and emphasise the finished product, to
of the gallery itself. Focusing on as attempting to register the poiesis of everyday life
be judged according to absolute criteria of quality.
the relations between the artist through poetics, then it is a poetics that articulates
Everyday life becomes a practice to be explored,
and the gallery visitors, the activities rather than expresses identities—a poetics of
rather than a boring routine that needs to be
interactions between the guests, uses rather than users.
transfigured by art.
and the atmosphere created by Ben Highmore15 The term ‘practice of everyday life’ is a
Tiravanija’s cooking obviously translation of the title of Michel de Certeau’s 1980
Knowles’ proposition to ‘make a salad’ relates to
shifts the emphasis away from the L’Invention du quotidien (literally the ‘invention’ of
an act that we perform in our everyday life, and
finished object towards the process, the everyday), and it was in the second volume of
the form it takes evokes very directly an object of
the performance, the behaviours which emerge this book that Luce Giard’s analysis of cooking
everyday life: the recipe. In her study of cooking
from the artist’s everyday intervention. It is much was included. In Relational Aesthetics, Bourriaud
as a practice of everyday life, Luce Giard explains
more difficult to define what the form of the work actually refers to de Certeau and the ‘invention du
that:
actually consists in. Whereas Danto systematically quotidien’ when he writes about relational
tried to define the Fluxus and Pop works as In every language, recipes comprise a kind of minimal
text, defined by its internal economy, its concision and practices such as Tiravanija’s. For example,
ontological entities, Bourriaud is content with Bourriaud claims that the practice of everyday life
describing ‘form’ as nothing more than a ‘coherent its low degree of ambiguity.16
Knowles’ Proposition is certainly presented in a is ‘not an object less worthy of attention’ than ‘the
plane’ on which heterogeneous entities can meet; messianic utopias’ specific to modern art.18 In
it must be unstable, open to exchange and concise and minimal format, but it does not,
however, provide any of the information which is this opposition between everyday practices and
dialogue.14 ‘messianic utopias,’ Bourriaud follows de Certeau’s
Instead of an opposition between art and the considered to be ‘indispensable’ in a recipe: it
states neither the ingredients nor the utensils and distinction between tactics and strategy. Strategy,
everyday articulated in the transfiguration of the according to de Certeau, is a means of calculation
commonplace, Bourriaud describes art as a ‘social techniques to be used, and the name of the
prepared dish is generic rather than particular, and manipulation in order to gain power over
interstice.’ Bourriaud borrows the term ‘interstice’ another, in situations where the distinction
from Marx, who used it to describe exchange leaving the whole process as ambiguous as
possible (Knowles says ‘salad’ rather than ‘Greek between one’s own space and the other’s is clear-
spaces which can escape from the dominant cut. In contrast, tactics describe actions which
capitalist economy (barter is one of his examples). salad,’ or ‘salade niçoise,’ for example). Thus,
while we can conclude that Knowles’ piece is take place solely within the ‘other’s space’
For Bourriaud, artworks exist in such a space, a because it is impossible to isolate the two spaces
space that is part of the global system but actually totally useless as a recipe, we can also see
how it uses the format of the recipes to explore from each other. The ‘interstice’ occupied by
nonetheless suggests the possibility of alternative relational art according to Bourriaud seems to be
exchanges. Bourriaud singles out in the global key characteristics that are relevant both to
Fluxus and to cooking. Four of these dimensions the very space of everyday life in which de
capitalist system one particular aspect of everyday Certeau places tactics, those everyday ruses with
can be briefly outlined here. Firstly, authorship
for recipes is usually collective, if not anonymous. which some members of society ‘tinker’ with the
Similarly, Fluxus as a group explored ways of dominant social order for it to work in their
undermining the highly personalised traditional favour.19 The question of whether relational art is
notions of authorship both through collective politically radical or not is thus closely related to
production and an increased reliance on the general issue of whether, as de Certeau
reader/spectator participation. Secondly, recipes claims, certain tactical practice can effectively
can be transmitted orally as well as through subvert the everyday life in which they are
publications, which is also the case for many embedded.
Fluxus scores: you do not need Knowles’ book to De Certeau’s considerable contribution to the
own Proposition. Swedish folklore specialist and study of everyday life has been not only to
Fluxus artist Bengt af Klintberg highlighted the highlight the complexity of everyday practices
such as cooking, walking or inhabiting living
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spaces, but also to reflect on the significant attempts to grapple 4 George Brecht (1965) ‘A Conversation about
methods for studying these with the new relation between Something Else: an Interview with George Brecht
practices. As Ben Highmore has art and life explored by by Ben Vautier and Marcel Alocco,’ in Identités,
explained, de Certeau sought to successive generations of artists. nos. 11-12; rep. in Henry Martin, ed. (1978) An
Introduction to George Brecht’s Book of the Tumbler
create a general poetics of While Danto’s reflections
on Fire (Milan: Multhipla edizioni), p.71.
everyday life which aims at successfully highlight the
achieving the generality of a importance of the everyday in 5 Arthur Danto (1981) The Transfiguration of the
Commonplace: a Philosophy of Art (Cambridge, MA,
science without losing sight of works by Warhol or Fluxus, I
& London: Harvard University Press), p.vii.
the singularity of the actual—an have suggested that his
6 Ching Yuan, in D.T. Suzuki, Zen Buddhism: Selected
issue that resonates with Fluxus ontological enquiry is restricted
Writings of D.T. Suzuki, quoted by Danto (2002)
event scores which oscillate by the static polarity it sets up
‘The World as Warehouse: Fluxus and Philosophy,’
between the extreme generality between art and a commonplace in Jon Hendricks, ed., What’s Fluxus? What’s Not!
of the instruction and the which remains in essence Why., exh. cat. (Brasília: Centro Cultural Banco do
inevitable specificity of each everything that is not art. Brasil), p.31. This passage is reproduced in The
individual performance of its Bourriaud’s definition of Transfiguration of the Commonplace, p. 133.
terms.20 De Certeau’s poetics relational aesthetics introduced 7 Danto, ‘The World as Warehouse: Fluxus and
successfully capture the post-structuralist, Deleuzian Philosophy,’ op. cit., 31.
singularity of everyday life, but notions of flow and dynamic 8 Greg Horowitz and Tom Huhn (1998) ‘The Wake of
encounter problems when trying forms that are more amenable to Art: Criticism, Philosophy and the ends of Taste,’
to theorise the political, capture the nature of practices in Greg Horowitz and Tom Huhn, eds., The Wake of
subversive potential of its by Fluxus or Tiravanija. Art: Criticism, Philosophy and the ends of Taste
practices. This issue, which is Nevertheless, as I have shown, (Amsterdam: G+B Arts International), pp.1-56.
one of the central problems of the kind of everyday practices 9 For such an analysis of these different aspects of
studies of everyday life which Bourriaud celebrates Warhol’s works, see Benjamin Buchloh (1989)
throughout the twentieth remains sketchy, as he refuses ‘Andy Warhol’s One-dimensional Art, 1956-1966,’ in
century, plagues Bourriaud’s to address the ways in which Kynaston McShine, ed., Andy Warhol: a
relational aesthetics as well. To they participate in, or resist, a Retrospective, exh. cat. (New York: Museum of
analyse Bourriaud’s text, it dominant social order. Studies Modern Art), pp.39-61.
would thus be useful to start by of everyday life such as de 10 George Brecht (1967) ‘Interview with Henry
unpacking the models of Certeau’s complement enquiries Martin,’ in Art International, vol. XI, no. 9, rep. in
everyday life to which he is such as Danto’s or Bourriaud’s Henry Martin, p.80.
referring. In the process, one by disrupting reductive 11 Rirkrit Tiravanija, quoted in Janet Kraynak (1998)
would find that he seems to be descriptions of a universal ‘Rirkrit Tiravanija’s Liability,’ Documents, no. 13,
combining de Certeau’s non- everyday and looking at the p.36.
oppositional theorisation with specificities of the practices with 12 Nicolas Bourriaud (1998) Esthétique relationnelle
references to Situationist which art practices stand in (Dijon: Presses du réel), p.117 (my translation).
An English translation by Simon Pleasance and
thinkers such as Guy Debord dialogue.
Fronza Woods was published in 2002 (Relational
and Henri Lefebvre, who came Filliou’s quip about art being
Aesthetics, Dijon: Presses du réel).
from a Marxist tradition what makes life more
13 Bourriaud, p.117.
obviously bent on a interesting than art may suggest
transformation of capitalist that art should become less 14 Bourriaud, p.115.
society. interesting—indeed, works such 15 Ben Highmore (2002) Everyday Life and Cultural
The tension between as Knowles’ Proposition, Brecht’s Theory: An Introduction (London and New York:
conflicting models of the Three Chair Event or Tiravanija’s Routledge), p.156.
‘critique of everyday life’ is meals, deliberately ask to be 16 ‘Dans chaque langue, les recettes de cuisine
arguably inherent to the very dismissed as unremarkable composent une sorte de texte minimal, défini par
works acclaimed by Bourriaud. occurrences which exist in the son économie interne, sa concision et son faible
Janet Kraynak has aptly same time and space as degré d’équivocité.’ Luce Giard (1980) ‘Faire-la-
cuisine,’ in Michel de Certeau, Luce Giard, Pierre
criticised discourses such as everyday activities, in a way that
Mayol, L’Invention du quotidien, vol. 2: Habiter,
Bourriaud’s which describe neither Rauschenberg’s Cuisiner (Paris: Gallimard), 1990 ed., p.303 (my
Tiravanija’s work as generous ‘combines’ nor Warhol’s Brillo translation).
offerings providing an Boxes could ever dream of. At
17 Jean Sellem (1991) ‘The Fluxus Outpost in
alternative exchange logic to the same time, the important Sweden: an Interview with Bengt af Klintberg’, in
commodity fetishism.21 thing about Filliou’s definition of Jean Sellem, ed., Fluxus Research, special issue of
Tiravanija’s art, Kraynak argues, art is that it exists as a dynamic, Lund Art Press, vol. 2, no. 2, p.69.
occupies an ambiguous position reversible movement, in which 18 Bourriaud, p.14.
which exceeds such simplistic the artwork can make life more
19 Michel de Certeau (1980) L’Invention du quotidien,
celebrations of a supposed interesting not because it is as
vol. 1: Arts de faire (Paris: Gallimard), 1990 ed.,
return of everyday life in art. boring as life, but because life is p.xxxix.
On the one hand, she explains, at least as complex as art. It
20 Highmore, ch. 8. For more about the general and
Tiravanija’s work embraces the may seem paradoxical to
the specific in Fluxus scores, see Ina Blom (1992)
shift in the new globalised conclude that we may need ‘The Intermedia Dynamic,’ in Ken Friedman, ed.,
economy from the production simple, often literal, forms of art Fluxus Virus, 1962-1992, exh. cat. (Cologne: Galerie
and exchange of material to tell us about the complexity Schüppenhauer and Kölnischer Kunstverein),
objects to that of an equally alienating ‘symbolic of everyday life. And it may seem rather pathetic p.216.
capital’. On the other hand, however, it that we need to be told that everyday life is 21 Kraynak, pp.26-40.
simultaneously reveals the increased complex in the first place. Yet the question of
Anna Dezeuze is a Research Fellow at the AHRB
homogenisation of cultures as they enter the new whether, and how, the everyday can be studied is
Research Centre for the Studies of Surrealism and its
symbolic order of global capitalism. Where Fluxus in fact a complex topic in itself—a topic that
Legacies.
could still dream of a de-commodified everyday requires a further discussion, over a salad or a
life based on collaboration, participation and Thai curry, it goes without saying.
other modes of ‘folkloric’ exchange, ‘relational art’
in the 1990s marked an embrace, rather than a Notes
rejection, of the museum, as well as a return to 1 Robert Filliou (1970) ‘Interview’, quoted in Robert
traditional modes of authorship—Tiravanija’s Filliou: Génie sans talent, (2004) exh. cat.
presence, as Kraynak points out, is by now (Villeneuve d’Ascq: Musee d’Art Moderne Lille
acknowledged to be a necessary aspect of his Métropole), back cover.
work. 2 Robert Rauschenberg (1959) ‘Untitled Statement,’
in Dorothy C. Miller, ed., Sixteen Americans (New
Conclusion York: Museum of Modern Art), p.58.

Both Danto’s Transfiguration of the Commonplace 3 Allan Kaprow (1966) Assemblages, Environments
and Happenings (New York: Harry N. Abrams),
and Bourriaud’s Relational Aesthetics are
p.188.