By Leo Bersani, Ulysse Dutoit
Many critics have explored the homoerotic message within the early pix of the baroque painter Michelangelo Caravaggio (1573-1610). In Caravaggio's secrets and techniques, Leo Bersani and Ulysse Dutoit emphasize in its place the impenetrability of those images. the stress among erotic invitation and self-concealing retreat leads Bersani and Dutoit to finish that the curiosity of those works is of their illustration of an enigmatic tackle that solicits intimacy so that it will block it with a secret.
Bersani and Dutoit provide a psychoanalytic interpreting of the enigmatic tackle as starting up kin grounded in paranoid fascination. They learn Caravaggio's makes an attempt to maneuver past such family, his experiments with an area not circumscribed by means of the mutual and paranoid, if erotically stimulating, fascination with imaginary secrets and techniques. In his most unusual paintings, Caravaggio proposes a notably new mode of connectedness, a nonerotic sensuality proper to the main fascinating makes an attempt in our personal time to reconsider, maybe even to reinvent, community.
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This masochistic narcissism sexualizes our relation to the world at the same time that it eliminates the difference between the world and the ego. The project of Arts of Impoverishment, reformulated and pursued in new contexts here, was to investigate the possibility of ego-identifications (or ego-extensions, we would now be inclined to say) not reducible to a sexualizing shattering of the ego or to the sadistic project of destroying what is different from the ego. Laplanche’s notion of the enigmatic signifier could be thought of as a reformulation of the antagonism between the self and the external world.
3 But Christ will die and be buried, and will then reappear, resurrected; there is nothing in that resurrection that corresponds to the between-ness Caravaggio emphasizes. This between-ness means that Lazarus is neither dead nor alive, or that he is both. He is, in any case, not readable as either one or the other, and his unreadability is reinforced by the irreducible ambiguity of that highlighted right hand. Is it “an antique gesture of acclamation”? Perhaps. But if we fix our attention on what is going on here, within Caravaggio’s painting, the gesture can also be read as simultaneously open to contacts and repelling them.
Given the central motif of a blessing in the Supper at Emmaus, we might conclude that Caravaggio has painted the sanctification of all objects in space. But how exactly should we look at a world in which there is no supremely privileged object, no recognizable and recognized point to focus the spirit and the gaze? The process of sanctifying equalization we have just described requires 21 W L ? 3 Supper at Emmaus, c. 1606. Milan, Pinacoteca di Brera. 22 W L ? a new kind of look on our part, a look bound to be at first a disoriented look.