1 tent rs he el nnn ed ayn wh mig er de eter (Ps 858) 2-0 (mon mou ms ed ees ie mane ow tt ohn nt pe ‘tela peten bt al le rt gate 2, 2 [cle Sims. cn eget gaat: Pee nesta Fae 18658.) 21st rine cae end: 2741-21 ies neue te Gat xt A The Ma Cnn spree (0 eo Bn anand ew Yor Coton DS Georges Didi-Huberman ‘The Order of Material: Plasticities, malaises, Survivals//1999 ren matte th ain sed On ene tind meal ben antec ind cre nt Sth pneu o oy moo at spat a copstomaeat neuen arc hoe tae brane pop aed Heat ssa ene ether en cp va uly mse spas fe Senta nbopted eee ottoman esate teeter 2 pd Sn rn oan toca ede ee ern sal Seay ns uel an ter wy das hey eet aes reno sien rte she pas [cd os 1 a ayer isray cre ena hart Itinerary ethene nny tee omen “ae sctbets te pa Bt iy we an a ues We teams ers hepa ysl al eee of tel oe We a ees fo papal pty mae {etn Pare Kat ot say wea Ith emo ys re eno he Pye (Cogs an rote anareneeanee eee eaten ‘os ermultn of ab cooly) tat in each ase material would enh es esi wation,secondarypotenta or eve indeterminate il hia ee the sponeaneous pesophy’ of at istry even tthe ver of: de asa spoken of mater asthe 'sbject sat ¢ thats tosses? Avoflringthe more orks indeterminate recep ‘ning eng] and of the ele Cese even tthe point of no-en dour, of peel aways wating fora Tor! which coud redeem | Svc ale coal provid 4 dgnled aurward appearance. At worst. mater ‘lb formlessness = a insurrection eps form = at bes t would be 3 pe of pss of secon form, Vee when wespeakof he plas arts we suppose implicit, tmolgiall ithe iu are do not wants pasty which wate esto the action buns Ths at mean frst of al plasty of materi whieh nt meat ot nate does ress form = has act, maleabe canbe puto work el In bre humbly ofr sl to he posit of being open, werk ‘aed put int fom, {rc speskabout wax (to reflect on mae a generalist never understar ler since ee to makea single Sex inn fal abstraction) Why wax? Fr rvs i duce materia plas mater par exclece. Wiha pec of the and the rte phlsopiealquerton of the appre beeen fo tn mater ~ vente apport between spt and mater = assumes conse inasortot ery tangle warmth Rs ott by chance hat sud, compel “alto the pradgm of ware thee mark on several sgifcnt moments Te histary ofthese quetons Fs in Pao, where isthe oigiary wax th nh be modeled in the same way sly bythe diag In The Lae. "tigi hats eampared eo the newborn i whom his motes ogy fom before th iy ised im tis aso the wax fds shi become metaphor forte danger ntontng te hearts of even ho iho ble temseves austere = beneath the caresses that might make Snes mele is expecially the wax of memory that appt inthe Thee Under he abi of hypothe suppose, therefore, for he sake of argue tat we adn ou susan impregnate wax.” We ow the ft ott metaphor in Aasodes Rand, where memary has sits objec the thing se trou eh image: the epresion he wae that wl heesoth serve as erate made for ensition se 1, ‘material aay f wae bere etn motion forthe longterm. 1 8 culminate inthe Carslan anabswher the lee of wax is made ro st "he etneon between matter and sprit! and at asi the retin model ‘he Wnderbck the yeti wring pu? which itselfennebted othe ci reversal of this entire ange of isin. Forte moment lets kep inste eet tlh the pg or Ait, th devdonent oe ‘tala depend on an erode ec pon eins ot the stem a he mata in meal ar oe ae oo Seng wes frm il a tJ he mre the sel ree ina on ui: Ne sae poste eon, inmate hat bo it a ot yea str as ed ere nt ery auaty oh ple na gst The queton a plasty very cheer afore orci so tht steal nce marmot pee at ‘equ being eter dy rr id athe or to soy ths noc the elton of atl Gates te ey tame fiscal soi ees peta we ed 8 ‘amie mae oe Wh stn we map bgente petal ‘seo wax” wt sh ofthe ta and coped ens OF wax “shat we may ayo tore he pest sty y neice php tae ea mer ‘neo hensee evoke many gua tpi se snd bo the theo ete pat ova yi = se td badness times ad nomi = and spa te of rae than the thei inbte rmbt ster rd nog ete \Wanisnot one war aloe forthere resomany wae. Tee a hands and née of woes, ad they ll merge ta ooe ater Wit aes the teen becween ther? The Way one mies tem, te way oe wi the arouses wa. andthe carposions oe es fhe “The man speaking her is Girolamo Spatars, one ofthe lst wat workers of Sic, suppl of extotes and cher Sgurines for natty sens in 41981 Inverview with an ehaololt is entire corse upended between ste Sense of extinction ~ because noone sem fo wan thee retin outmoded jects, ands the very profession of wax-working ding out- he ish say, free vo repair washing machines to ear ving ~ and sean, 3 sense of Sura characteristic ofthe materia ise a durability that, pele. 0 {he exrardinaty pasty of wax: ts marvelous, Penthing cn be made from it even moves [Merge Tuto spud fre. 5! mv pr, be fonfdes between two dslusoned remarks abou hes of odes! By simultaneously evoking not ont extinction nd ural bata the marvelous Inmeravoo] plastic of wax plasty hati the rerlot the mand ses "o which the materi ends itself aswel so that oof Me demonstrates "hou isvery plaity the iin craftemanartilates what isperaps the ‘sue ofthe tora anthropolgial and aesthetic problems ase PY ange consteiation of objets absicate in wa.) The Mkeeser of mora. uso curse be undersoodin eas he lomnan pace of mags. tose mak af aloud wax made by ne an Ineson ofthe aes ofthe dead 2nd whose genealogical function exes 35 Itnlamentlwoughoethe ite nthe Wes ofthe ness ofthe Bat wien stale meaning sugested by ide mora ence (2 "Thinlege te innumerable ses of waxevoked by Py. among whl nd nhedtopether pay echniques medic ses ric werk. and oats in 28 wax todsle tha, merchans Windows, represented rat ther evhabie food produc (ve sil ad hem toy in some restaran sidows Ming waxasbeen almost ues replaced by thermofomed pt” These nnomerble use cotte an exaorinay anthooloee vlinertaton ots tea: apical wax (sacha Egyptian dls orgies ide sorcery) vote wk (reefs fom cyprs, nai evr ram Wester Europe, dol representing chile, anatmicaP™05 nas ethan ear an votive representations of internal organs sch the igs a art: eerary wax (such a5 the detimass of Fre Ange® WO ied in M455, o Sin Pilpof Mer who ded in 1585); ug! wasn requis with Ags det he wa of popular devotion elu wit ives, figurines under pla te animal, pices of wax model look Ie pieces of wood); are wax (be wax created for cating Bros WH tally et bu which subsist in a ew examples of alle casting, FW "he reserved models for worksby Michelangelo, Glambolagna thas ft olin in sixteenth etary Horece; artisanal ax 2s well as astomia ‘nox hich pushes othe mis he ntan af he Ere fo exary cing | “ie ana of fce all the way 1 Is very decomposition, orn sich the lnrmast recesses ofthe wombae ven 2 special exiion vale) na nial anaes eing dpe om the car ad elgon to tetuseum. arvand then othesceniecabine, te exibition value of waxis imate ‘hnenraded tothe word of wax mateuns as and the public bouts" \Wemighadd fe more items inno paicularorde and without smptne woe exhaustive ~ since, feral tbe Engcpedia of Diderot and ember il aknowlegs tat "we would never be ale to ist how many 8 Ten made of wax since the beganng of ie wax for pining * ‘eo and ten wo (or bet) housed wax and sealing wax, sho WAX aN Insta wanes adhesve wakes and cosmetic wanes and soon’ ts bv: sty fate means a iy of nto. Nore reise Pores malic, sanetions ee very medium, and (wh ke) ee fonts Ke How i hs 50? Perhaps tanks tothe absoiely exaoeina, yee ere er easccumltenr et ees va tie tow vdtetin nse st gues eee en ero stk cerns inte. Reece Sp ea ‘he wae mip pe smanpagt OKs eae ted th uderbing ac of ys the trl atte of wax a the ast’ mater chat serves ty stern puson af human beings for Cabrcang those “things whi oom? wigh we eal images No only does the plbilty of the materia bute rendering fhe smal dea Bot more, hough teat "i appropte eral solutions or esouigs. ts textural quales allow th it imitation o bronze labs lea ores = another sens, separable om he rst asl eansisabilty. Then swing more usable nothing more chageabe, tha the pti ste of pvr wan ake rite ubtancein my and butina mate of seconds ely eat ener it maleabe and allows me, more easly than wi any othe nero o reproduce accurately the deat shapes ofa body fae. takes nnn de pray of nly the matlest ame for sh ae frm el wh 1 gue 0 gel. The ‘para of consisency imposed by th sthiy of wax may therefore be undertod a the posi ineviab “evuting~ of coming and ging beeen resemblance and fomlessness./ ‘sming aa ig no lege inked tthe wel ofthe dg ~ the drawing | ‘he sgn~ andthe buttathe inns properties fhe material Whe we wach apiece of wax ve, we are very Quy fred to suspect kind © “aship a wor within the tadtonal Merareis of bem and mate. osc, conequeny. need no lnge mean pasiy. The piece of wa ‘eminso course, submissive in ey hand tw take he fom that my esi wees Boe wil aa kep, witout my even think about ior wishing | te inpesion f my fle and the aces of my ost uniting movement he submisivenes fhe materials soeomplete chat oa moment eevee olan Becomes he power ofthe mater uc ow can we characterize it May by means of nton tat certain modern pistes have oppose snl at y anc, theo poly of mater and fem: hat of viscosity. Iopensparataicaly~ and we ned tty ogre oa why = hat this not ‘ie Ke meaning though the elatoraton of he ayctooaie el In 826 “ones tale wrotethata relevant ation of matter ecld nt expect atin Inimsclentsiesbaraction or om arial ltd psi phenomena ‘ne i acoang Btale,okto Redo nd what mater mean 2 very moment when Fred was eying to define his ns meapsyhologica ‘cept he dein the syrmettal terms of pasty [Past] and ¢ ‘iscsi eben) like Arse’, Freud's theretcal use of material qualities forces ust Implement that phenomenological attention that art Rtorans my igh «allan when connie withthe object of heist. In 1828, Aue Kola, Young Hungarian payeoanajst and dil af Huser, published an ess shout abject phenomenetogy on the poem of digas (problematic or AERTShn yb ee ether mtv en, Sf mati ics ps aes one ply sp Sue ed hey ch ri eto eo, ‘ce rai woe oi omnes na marae pa a ply oes egies aera all eto ne, snp an neo fis ie er ae eh kt alm sah eerie te ee seh oto The vo ope satel thet fin ftw wh mle Waterers es aay oc itt ey i oo Sean Avra ph er fa tht appeal mantras eh whch cee Aig ad eevee snail ie vss ey al sey ito ce ens Buy ca sew nts he ‘hana sly epee noi ang gh ft ‘are i..Ts he nbn dcurpe paes [Nothing testifles more clearty to the dubious chara pene i tious racer of nce wo ates thn he Swe th whic eva ee ‘Taney wich ses ey pon on the ony cna Ihe Bt sro ate nan ete ee ‘epee sgl lng ape wih pas aoc en ‘ods dl" he the Baten ofl eto wont ‘ying on ber back. 7 ne cor va with dss ee re ete nwo evn wee woe tbe aa eae toe pe i or et Sony ans ith spc hay Te ve ‘hanna eral npn iyo in he ry apehenionof vce stb cmroing an witout eqn ete hong memo 2nwonoare “mache vicar ig dohdin inns... hero ef he ‘cite oe ear ht ine ght eae ers, a ey gh owes coin nde ait none tins peo beaten wich es hu cnet beans ge wh seeing sujresionrtom aman sh sno doubt ha wax des et have she ty sininess characte of Icy of pitch; no ub ha ax des nox hve the ire power of ec tise the Sarre evokes in bite But the wax jc becase of he ivi abated 8 wal 8 trod the phenomennogy fer ‘sppeceching i ise fillers ust wel that ufaiar make-up of plastic and ‘Sry hat makes everywhere ling and yet everwhere ilar ise, (testis tas ined intablyan8 a sustain Densen two States Twn objet cetiny oes the absence ofthe hea Mg eserbedby ive: bothvisble resistance the meine asthe possi of elation wi sqeading out oo Batening nso ananlaon which stoppec Toy Tiss why wx, more 3 han Rone or ich, has been vested a ning thvesening rpms, etamorposing and eng This why Int a mater which ols me and whieh compromises me, 2 mateo tap ovose every property animated with kind ef if and is tured agains tw Ts what Red undestond so well Sare seems bere © forget it Tivugh recourse tothe concept of “as Unwimlche "ie encanny’” we ‘hmountr fatale every sep fou path through he ero oF WO What des this peiminary loo the material of wax teach ws? Fst. the us platy canoe be reduced to the eanonlcal poss of Madame Nate nde thrusting andthe pounding of sas that Mr Frm would eve “ject be fo Te reality of the material proves more dsrbing It possese testy and fact orititsc ower which sa power metaporphos i psymorphosts of insensibity to contradiction particularly tothe abst “adi bebven or and formless). Sarre tates extremely cet thu his aetvty of the viscous this ind of Ife an only be symbolized « ile as anv. dent we are beter equipped to understand ‘henge that marks the epee postion ofthe ar historian confonted Wi le stra On the one hand, enc evidence Is the business of restore vd morefundrentalyfs scene of mateals™ none doubts estima e's benefits, On the eter hand he phllsophicl prejudice of the ea Ivete na Patonic one, populiried by Vas atthe very moment fir ttibe academe dcoure cle at history and Analy transported into ‘wert century by Panoikyianneo-Kantanlsm ~ crests a ana rnteralin general and pata of hat unstable mater of hat ‘substan fetween wo states thats wa Significantly is the museums of nino ar apple art orf corte ar = suchas the wonderful Victoria and Al ‘aseuminLondon-thathavebeenablet escape censoringtheathopoln swell athe aesthtc value of ax “ensocii exiss ny whether ilo anesines or icontnt wa este sous mate |] eats ts om Fnetion of resemblance iinet cece alain‘besimutaneosunesness.of deteroaton and eet. inboth cases lst thahreatens the onary concepts of fom an imation Ws inthe ae reseilance, lvays esto. tcp of renderngthe dtl tat ae the ‘most cat inal of ature’ adjusts tel allel tthe rales eee ‘of later mount wich ts poured, an expres every range ad every ty erence in wecure But it always adds able and gnspealale ox something hat arouses uneasiness. hat adulteates and les dwt, th sueny seems avs genre ba a, vl een criminal, ort Janson suggested that tis rsmbanetirough exc, inked to "mechanical procedures of casting ano msleable a intable materia sh 35 wax resus inthe run of any cance of style and een of any authentic ream ~ better: artiste els - which he led "alamo animation’ As {or Ese Gombrich the two line of his At and lon mentioning wax are onéennatn: efor the proverbial wax mage we offen eel unease case ‘reps the boundaries of embolization] How can we forge that our actual wae museums - Madame Tessa in aoa, o the Musée Grvin in Paris — have thei orga in the revolutionary iin those deaptatios by the pln, wich were then soso ‘odd in plaster force making of wax ef having the fanction of qs rics? wich case, we have fo acnowfedge hat wan is a psyehicly cs mate (a The oo dismissal expressed by Janson an Gombich do not mean exactly the same thing. They nevertheless male up 3 system tht seems to me "epnsntatve ofthe epstemologiel situation of Aigo Saxon at istry ofthe osbarperiodandto what Panty himselfalledan ais anapanted European Janson dismissed the loud sie of bad tase’ resemblanee =the ‘nd represented by Madame Tsar the Must Gein ~ inthe name of ‘very power hierarchy between objects which ace‘ abet (objects of the history thatbearsthat ame) and hose which arent (among which inclided nox wax objets). Gombrichinturn cemisesthe morbid deadening inde ‘adaeous sd of resemblance tat situates kel beyond the boundaries of ‘symbolation: The art history extolled by Janson therefore an et iso iteu anropoogy, which Would ater ligt marble busts and ina the ‘dubious taste of works formed of pojeeome, even If they date om the uateoceta” The art hsory pase by Gombrch als fora psscholgy, bu ‘eins anor history witout metascholog inthe Freudian sense specially mart history without the death dre ‘onside then how wa isl fom the pin of ew of he materia - not ony downgrades the academic hea of geve alto cova the sadam ea far in general Schlosser, concerned to vertu the asian elegy of eee sono odo seat ane nora sy vesting wering fas” we sets ed © shat te notion of déclassement has to break with all teleatonies is changes into the carnival mannequin, but the ener ee ee Seas Henn sitrecnfaue dts pe by messin dren q modern Mees ted rst we cal omen te nant A nai etiam Ot nario tesa gore aie ncn Pts 25725-0 Sata mct PO 1 NE tment oa orp a 80 aon eed emt tue ngnht T ‘rene oman et OH Mee rere nan sermcnan 4 Shwe ay oe VL (net here pe ee xa "eum et ‘tae aoe 101-4, 0a trans }-M, Cree Pars, 185) 1 en a eer cen hen apt na te de (trae Popo 5 384 10 iy sh ese ere, 25 a cra eer nani ee yon ar utan hs nanan ¢grcques erates, 1-2 Par, 187) ¥OR9-20- ri -2} erscnpis m ener na 5 es ms ney in RS sae ht Pah 2 8 {Sor enema oc ‘pechituberman//he Onder of Matera,