{"id":199243,"date":"2023-10-23T14:48:01","date_gmt":"2023-10-23T19:48:01","guid":{"rendered":"https:\/\/esse.ca\/chronique\/faire-secret-keep-the-secret\/"},"modified":"2023-11-03T11:24:39","modified_gmt":"2023-11-03T16:24:39","slug":"faire-secret-keep-the-secret","status":"publish","type":"chronique","link":"https:\/\/esse.ca\/en\/columns\/faire-secret-keep-the-secret\/","title":{"rendered":"Faire Secret \/ Keep the Secret"},"content":{"rendered":"\n
In my digital residency, I consider the theme of the secret across Esse\u2019s archive. From hushed stories and subterranean noises through conspiracy theories and the covert operations of the surveillance state, I question the hidden registers of silence and opacity that animate contemporary art and democratic politics. How does secrecy shape the political? How have artists intervened in state secrecy and data surveillance? Conversely, how do artists appropriate the secret? Secrets tend to multiply, so I need to limit myself to just a few essays\u2014from issues 61, Fear<\/em>; 86, Geopolitics<\/em>; 92, Democracy<\/em>; and 95, Empathy<\/em>\u2014to draw attention to relations of power that structure the secret.<\/pre>\n\n\n\n
In what way does the secret underwrite the conceptual organization of the archive? As I trace the thread of the secret circulating beneath the themes that explicitly organize Esse\u2019s archive, I am aware of its slipperiness: the secret pulls in its wake the problems of the unconscious. It slides between words unseen, exerting a disruptive force on the archive\u2019s categorization. Importantly, the secret presents a paradox: when it does appear, it destroys itself. It loses its identity as a secret <\/em>as soon as it is revealed. But let\u2019s not get ahead of ourselves. Let\u2019s begin with a provisional definition. The secret is usually understood in opposition to what is exposed. It is related to lying and deception\u2014it is what is concealed or hidden. Secrets are duplicitous. By hiding the truth, we perjure ourselves. We may do so with good reason, but ultimately, keeping a secret is a form of betrayal. This is how the common understanding of the secret usually goes. I know something\u2014and I withhold this knowledge intentionally, deliberately. Can attention to the secret history of the secret in the Esse archive help us to reimagine secrecy otherwise?<\/p>\n\n\n\n
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Conspiracies<\/strong><\/h2>\n\n\n\n
In \u201cPolitics and the Art of Confusion: Perverse Strategies and Collective Paranoia\u201d (61, Fear<\/em>), Lynda Dematteo examines the post-9\/11 rise of conspiracy theories. Her essay has lost none of its urgency today in the wake of populist, far-right turns in the US and Europe. Her archaeology of conspiracy theories leads from the counter-revolutionary circles that emerged after the French Revolution, from the Illuminati and Freemasons, to Area 51, QAnon, and the deep state of contemporary alt-right politics. To explain the uptick in new forms of fascism and conspiratorial narratives, Dematteo turns to Elias Canetti\u2019s anthropology of crowds and Richard Hofstadter\u2019s account of paranoia as a pathology suffered by those marginalized by postwar American liberal consensus. She describes how paranoia slips from despotic leaders (who spread conspiracy theories to deflect attention from the conspiracies they are committing) to infect collectivities.<\/p>\n\n\n\n
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There are (at least) two discourses of the secret at work in Dematteo\u2019s essay, one more explicit than the other. On the one hand, there is the conspiratorial secret that she explicitly tracks\u2014the one that spreads affective dissonance. Conspiracy needs secrecy to spread. But the conspiracy is never completely hidden: its clues proliferate. One speculates on what is hidden to uncover the secret treachery of public power. It takes those who know\u2014or think they know<\/em>\u2014about alleged conspiracies to recognize the signs of the covert orchestration of world events. <\/p>\n\n\n\n
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Conspiracy theories are difficult to refute because they invest in an interpretive method of reading that destabilizes a strict dichotomy between the visible and the concealed.<\/p>\n<\/blockquote>\n<\/div>\n\n\n\n
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On the other hand, there is an artist\u2019s secret that gnaws at the conscience until it is confessed. Dematteo\u2019s text is interlaced with images from 99 Fears<\/em> (2007), a series of ink drawings by the Bulgarian artist Nedko Solakov. The images silently punctuate her striking analysis of how paranoia is collectivized. Dematteo does not speak to the images, which were presented the same year at documenta 12. Solokov\u2019s images were added to the text\u2014as a supplement\u2014by Esse\u2019s editorial (a secret history that is not documented in the publication itself, and which only came to my attention retrospectively). Does this addition from the outside supply something that is missing? What modes of reading does it solicit? Indeed, relations emerge between image and text by indirection. The juxtaposition ignites a practice of double\u2014even paranoid\u2014reading that invites us to construct hermeneutic links between Solakov\u2019s fears\u2014of magicians, democracy, clandestine state killings, of flying and the future\u2014and the inner workings of despotic power. Do the drawings exemplify the paranoiac style that moves through contemporary art as much as politics to infiltrate collective  desire?1<\/sup><\/a> 1 <\/a> - For an account of the aesthetic and intellectual affinities between art and conspiracy, see Larne Abse Gogarty, What We Do Is Secret: Contemporary Art and the Antinomies of Conspiracy<\/em> (Berlin: Sternberg Press, 2023).<\/span><\/p>\n\n\n\n
Perhaps.<\/p>\n\n\n\n
But the dark legacy of Bulgaria\u2019s secret police is no conspiracy theory. Solakov is afraid of the secret service. And he should be\u2014he collaborated with them. During the Cold War, the Soviet satellite operated a vast network of informants. Solakov collected intelligence about fellow artists in Sofia for the Bulgarian State Security, which ran a campaign that would crush the possibility of dissident art, while conducting abductions, sabotage, and assassinations.2<\/sup><\/a> 2 <\/a> - Christopher Nehring, \u201cActive and Sharp Measures: Cooperation between the Soviet KGB and Bulgarian State Security,\u201d Journal of Cold War Studies<\/em> 21, no. 23 (4) (Fall 2021): 3\u201333, https:\/\/doi.org\/10.1162\/jcws_a_01038.<\/a><\/span> Solakov\u2019s drawings harbour the open secret of this collaboration. His work, Top Secret<\/em> (1989-90, also presented at documenta 12, is an index-file that contains notes, drawings and small objects that reconstruct the story of the artist\u2019s collaboration between 1976 and 1983.<\/p>\n\n\n\n
It is not simply that the images illustrate<\/em> the conspiratorial paranoia that Dematteo analyses. Rather, they do something more nuanced and complicated: the supplementary images throw us into a \u201cparanoid reading,\u201d as diagnosed by Eve Kosofsky Sedgwick in her seminal contribution to queer theory, Touching Feeling: Affect, Pedagogy, Performativity<\/em>. And if this makes us into suspicious readers that seek to unlock secrets, if it demonstrates how paranoia spreads, this mode of reading is not simply pathological. Rather, for Sedgwick, paranoid reading is the critical precursor to reparative reading that can shift political conditions. Indeed, for Solakov who publicly confessed his secret collusion with the Bulgarian State Security, paranoia shifts towards the possibility of new forms of organizing the political.<\/p>\n\n\n\n
Demo(n)cracies<\/strong><\/h2>\n\n\n\n
What is the relationship between the state and the secret? Although secrecy flourishes under conspiracy, it is by no means exclusive to totalitarian regimes. Emily Rosamond explores the role of secrecy in democracy. In \u201cThe Surveillance Economy: Toward a Geopolitics of Personalization\u201d (86, Geopolitics<\/em>), she asks how artists intervened in state secrecy following Edward Snowden\u2019s revelations about the massive scale of the National Security Agency\u2019s data-surveillance operations. Snowden\u2019s leaks epitomize the liberal ideal of holding power accountable that can be traced to Jeremy Bentham\u2019s calls for open press and government in his 1791 treatise Political Tactics<\/em>.3<\/sup><\/a> 3 <\/a> - Jeremy Bentham, Political Tactics<\/em> (Oxford: Oxford University Press, 1999).<\/span> Secrets, according to Bentham, are opposed to transparency, whereas democracy is allied with it. Transparency lives on the side of progress: it fosters accountability and prevents corruption, while the secret is aligned with repression, securitization, and abuse of power. To what extent is our concept of the political bound up with this limited understanding of the secret?<\/p>\n\n\n\n
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Rosamond complicates the conventional opposition between transparency and secrecy in democratic societies. Examining how secrecy is systematized and technologized, she measures the abuses of secrecy against democracy\u2019s imperatives for transparency. What she calls \u201cthe geopolitics of personalization\u201d links two distinct sites: (1) the internal space of \u201cthe citizen\u2019s mind,\u201d exposed in its intimate depths to an ever-shifting network of data, and (2) the physical infrastructures that transport, archive, and instrumentalize information: government and corporate data repositories, bunkers, and deep-sea cables that span the ocean floors. \u201cWhat are the implications of a geopolitics of personalization for art practices?\u201d she asks.<\/p>\n\n\n\n
Liz Sterry\u2019s Kay\u2019s Blog<\/em> (2011) and Jon Rafman\u2019s The 9 Eyes of Google Street View<\/em> (2009\u2013ongoing) offer a response to this question. Sterry\u2019s installation re-creates the intimate space of a blogger\u2019s bedroom inside the gallery, and Rafman\u2019s screen captures extracted from the continuum of Google Street View reveal anomalous events that resist the flattening of a transparent world of information. Snowden\u2019s revelations prompted both artists to critically intervene in surveillance apparatuses that enact and optimize secrecy in democratic societies. But government control is nothing, argues the political economist Shoshana Zuboff, compared to what Silicon Valley is up to. In her 2018 book The Age of Surveillance Capitalism<\/em>, she describes a new logic of capitalist accumulation that profits from the capture and instrumentation of private human experience.4<\/sup><\/a> 4 <\/a> - Shoshana Zuboff, The Age of Surveillance Capitalism: The Fight for a Human Future at the New Frontier of Power<\/em> (London: Profile Books, 2019).<\/span> In her essay for The New York Times<\/em> titled \u201cYou Are the Object of a Secret Extractive Operation,\u201d she describes surveillance capitalism as \u201can economic system built on the secret extraction and manipulation of human data\u201d that destroys privacy and weakens liberal democracies.\u201d5<\/sup><\/a> 5 <\/a> - Shoshana Zuboff, \u201cYou Are the Object of a Secret Extraction Operation,\u201d The New York Times<\/em>, November 12, 2021.<\/span> We\u2014neoliberal subjects\u2014willingly share our lived experiences with tech corporations on social media platforms. <\/p>\n\n\n\n
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Our experiences are translated into proprietary data points used by AI to predict and shape human behaviour and to guide targeted algorithms that are engineered to capture our attention. As in the totalitarian state, under surveillance capitalism, no one is allowed secrets<\/em>.<\/p>\n<\/blockquote>\n<\/div>\n\n\n\n
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Claudia Mesch does not explicitly engage the theme of the secret in \u201cProbing the Body Politic: Limits, Memory, and Anxiety in Art after Democracy Can no Longer be Assumed\u201d (92, Democracy<\/em>), but she performatively demonstrates how secrecy shapes the political. Her review of documenta 14: Learning from Athens<\/em> (2017) calls for an art of empathetic witnessing of democracy\u2019s violent underside of expulsions. She asks if art can serve as a \u201cmechanism through which democracy can be forcefully reasserted\u201d against the backdrop of rising populisms in the Brexit\/Trump era. She traces documenta\u2019s preoccupation with democracy to its institutional origins as a US-backed \u201cdenazification and public education project\u201d that aimed to return postwar West Germany to the path of democratic capitalism. With the 2017 edition, which unfolded simultaneously in Kassel and Athens, this relationship between art and democracy became the explicit central curatorial theme. Artworks engaged democracy\u2019s origin in the ancient Greek nation-state, while demanding that viewers critically interrogate their lived experience of belonging\u2014and unbelonging.<\/p>\n\n\n\n
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Any definition of the demos <\/em>excludes as much as it includes. Even the etymology of democracy\u2014quite literally the rule (kratos<\/em>) of the people (d\u0113mos<\/em>)\u2014 gives rise to dispute. Who were \u201cthe people\u201d of Athens? The propertied? The poor? Only male citizens could participate in Athenian direct democracy. In Mesch\u2019s view, democracy is less an existing empirical system of governance than a measure of who can be seen and heard\u2014and who cannot. Democracy has its own secrets: a dark underside of expulsions, of epistemic and physical violence. Mesch draws our attention to Andrea Bowers\u2019s No Olvidado<\/em> (Not Forgotten) (2010) and Emily Jacir\u2019s Memorial to 418 Palestinian Villages Which Were Destroyed, Depopulated, and Occupied by Israel in 1948<\/em> (2001), a family-sized refugee tent on which the names of the villages archived in Walid Khalidi\u2019s 1992 book All That Remains <\/em>are embroidered by the public as they recount stories of destruction and displacement in what is known as \u0627\u0644\u0646\u0643\u0628\u0629 (Nakba), or \u201cthe catastrophe.\u201d6<\/sup><\/a> 6 <\/a> - Walid Khalidi, All That Remains: The Palestinian Villages Occupied and Depopulated by Israel in 1948<\/em> (Washington, DC: Institute for Palestine Studies, 1992).<\/span> Both works testify to what has been lost to preserve democracy: the lives of Mexican migrants attempting to cross the Mexico\u200a\u2013\u200aUS border and Palestinian worlds, dissolved under an exclusionary imperative of settlement. Mesch advocates an expansive understanding of the art of democracy capable of strengthening social inclusivity. Empathy is the key affect for this process: what she calls the \u201cdemocracy effect\u201d hinges on art\u2019s capacity to witness suffering that \u201cwe\u201d ourselves do not know. <\/p>\n\n\n\n
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Art is a public education in empathy: by rendering visible those who have been excluded from participation, art can reconfigure the political status quo, making democracy more inclusive, more just, and more equal.<\/p>\n<\/blockquote>\n<\/div>\n<\/div>\n\n\n\n
Like Mesch, <\/strong>Maude Johnson addresses the relationship between art and democracy in \u201cThe Urgency of Debate\u201d (92, Democracy<\/em>). Yet, the authors\u2019 orientations differ. In her portrait of the French-Algerian artist Kader Attia, Johnson argues that he \u201ccondemns democracy as a hegemonic vehicle of Western thought.\u201d In his neon light-installation Demo(n)cracy<\/em> (2009), Attia slips a silent \u201cn\u201d between the illuminated letters of the demos<\/em> and kratia<\/em>. In the title, the burnt-out letter is rendered in parentheses\u2014its curved edges draw my attention to the constitutive exclusions that Mesch hopes empathetic education will illuminate.<\/p>\n\n\n\n
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In Attia\u2019s work, we encounter a more complicated understanding of the secret. In 2016, Attia founded La Colonie<\/s> in a former textile factory in Paris\u2019s 10th arrondissement. The cultural space for listening, sharing, and protest hosted workshops, talks, screenings, and exhibitions with a focus on decolonial praxis. Attia places La Colonie<\/s> under erasure. Neither concealed nor revealed, his typographical interventions mark the violence that cryptically haunts the bodies of the colonized, who are the very condition of possibility of various democracies. This secret has no intentional subject. Instead of a secret that we are conscious of, here we find an unconscious secret that slips between generations. La Colonie<\/s> opens a space where transnational histories of colonial violence and oppression can be collectively (un)spoken, while acknowledging the wilful forms of \u201ccolonial unknowing\u201d that render these histories unintelligible.7<\/sup><\/a> 7 <\/a> - Manu Vimalassery, Juliana Hu Pegues, and Alyosha Goldstein, \u201cOn Colonial Unknowing,\u201d Theory & Event<\/em> 19, no. 4 (2016), https:\/\/muse.jhu.edu\/article\/633283<\/a>.<\/span> Are our deepest secrets those that even we cannot access?<\/p>\n\n\n\n
Opacities<\/strong><\/h2>\n\n\n\n
Mirna Abiad-Boyadjian\u2019s essay \u201cOpacity Against the Abuses of Empathy\u201d (95, Empathy<\/em>) helps illuminate the unintentional secret that animates Attia\u2019s political gestures of effacement. Mobilizing opacity against the liberal abuses of empathy, Abiad-Boyadjian calls for a reappropriation of the secret in artistic gestures of refusal. She begins with a quotation from the novelist Clarice Lispector: \u201cI need to be exempt from myself in order to see… the other\u2014the unknown and anonymous.\u201d Scrutinizing the claim to transparency that assumes that individuals can know or encounter themselves\u2014or the other\u2014she carefully deconstructs the desire for immediacy without secrecy<\/em>, which is at the very heart of the modern concept of the subject. Secrecy, she argues, structures even our relationship with ourselves. Or, as Nietzsche puts it, \u201cWe are unknown to ourselves.\u201d8<\/sup><\/a> 8 <\/a> - Fredrich Nietzsche, On the Genealogy of Morals<\/em>, trans. Walter Kaufman (New York: Vintage Books, 2010), 15.<\/span> <\/p>\n\n\n\n
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Drawing on Clare Patey\u2019s participatory performance A Mile in My Shoes<\/em> (2016\u2013ongoing), which quite literally invites the public to walk in someone else\u2019s shoes, Abiad-Boyadjian interrogates the assumption that empathy constitutes an \u201cantidote both to the hyper-individualism of neoliberal capitalist societies and to world conflicts.\u201d Empathy, she argues, presupposes a humanist belief in the fundamental availability of the other. Transparent access\u2014whether it be the ethnographer\u2019s access to the inner world of the Trobrianders of New Guinea or the intimate truths of one\u2019s own self\u2014is not only impossible but a violent intrusion. Black Feminist scholar Saidiya Hartman speaks of the \u201cslipperiness of empathy,\u201d which she identifies as non-consensual mode of relationality whose hegemonic forms claim marginalized experiences for colonialist imaginations.9<\/sup><\/a> 9 <\/a> - Saidiya V. Hartman, Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth-century America<\/em> (New York: Oxford University Press, 2010), 18.<\/span><\/p>\n\n\n\n
Mobilizing Martinique philosopher and poet \u00c9douard Glissant\u2019s theory of opacity, Abiad-Boyadjian considers anticolonial art practices that resist empathetic appropriation. According to Glissant, the \u201cright to opacity\u201d must be defended.10<\/sup><\/a> 10 <\/a> - \u00c9douard Glissant, \u201cFor Opacity,\u201d In Poetics of Relation<\/em>, trans. Betsy Wing (Ann Arbor: University of Michigan Press, 1997), 189\u201394.<\/span> <\/p>\n\n\n\n
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Opacity refuses the totalizing logic of transparency. The ruses of secrecy are strategies for survival. Indeed, for racialized communities and for queer and trans people, opacity and codeswitching are forms of fugitivity and infra-political resistance. <\/p>\n<\/blockquote>\n<\/div>\n\n\n\n
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Drawing our attention to the somatic performances of Brazilian multidisciplinary artist Mariana Marcassa, Abiad-Boyadjian offers clues for an embodied mode of relationality that preserves the opacity of the other as other<\/em>. Marcassa\u2019s performances include collective acts of listening that create resonant spaces into which the body\u2019s memory of trauma is released in yells, cries, chants, and other vocal expressions. Focusing on the undercurrents of the voice (not the content of language but its grain, its embodied affect), Marcassa, like Attia, gestures toward a secret that remains foreign to speech: to reveal it would be to betray it and to absolve it of its very secrecy. I think this is what multidisciplinary artist and activist Olivier Marboeuf is getting at when, in his 2022 sonic performance, from which this essay takes its title, he instructs us, \u201cKeep the secret\u201d (faire secret<\/em>).11<\/sup><\/a> 11 <\/a> - Olivier Marboeuf, \u201cThe Museum of Breath (Le Mus\u00e9e Du Souffle) Sound #3. Faire Secret. [Keep the Secret],\u201d Berlin Biennale, 2022, https:\/\/olivier-marboeuf.com\/2022\/09\/07\/faire-secret-keep-the-secret-berlin-biennale\/<\/a><\/span><\/p>\n\n\n\n
From opacity emerges another understanding of the secret, not as something opposed to transparency and truth but as an anti-imperial mode of relation. What would a demos <\/em>be that begins from recognition of something opaque within each person\u2014that links, rather than divides, us? If the other is never fully accessible, then there is always the possibility of an undetected secret\u2014of deceit and lies. On some level, I just need to trust the other who could, in principle, always be deceiving me. We cannot therefore simply do away with secrecy because our collectivities paradoxically rely on a relationship with the part of others that remains hidden. This secret exceeds the intentional understanding of the secret with which we began. It exceeds the control of totalitarian rule and the capitalist surveillance state. Secrecy is not just one way among many that we might decide to engage with others. Rather, it is the general form of all<\/em> our engagements and all <\/em>our relations: the secret is the very fabric of our being-together<\/em>. It even structures our relationship with ourselves.<\/p>\n\n\n\n
An image theorist and independent curator based in Tiohti\u00e1:ke\/Mooniyang\/Montr\u00e9al, Gwynne Fulton holds an MFA in cinematic arts and a PhD in philosophy and art history from Concordia University. Her research spans critical phenomenology, decolonial aesthetics, and contemporary film and photography. Her writing has appeared in Esse arts + opinions<\/em>, Mosaic<\/em>, In\/Visible Culture<\/em>, \u00c9ditions J\u2019ai VU, Dazibao editions<\/em>, Les \u00e9ditions de M\u00e9vius, and ARP Books.<\/em><\/p>\n\n\n\n
Links to the articles cited: Lynda Dematteo<\/a> Emily Rosamond<\/a> Claudia Mesch<\/a> Maude Johnson<\/a> Mirna Abiad-Boyadjian<\/a><\/p>\n\n\n
Andrea Bowers, Clare Patey, Emily Jacir, Gwynne Fulton, Jon Rafman, Kader Attia, Liz Sterry, Mariana Marcassa, Nedko Solakov<\/div>\n
Andrea Bowers, Clare Patey, Emily Jacir, Gwynne Fulton, Jon Rafman, Kader Attia, Liz Sterry, Mariana Marcassa, Nedko Solakov<\/div>\n
Andrea Bowers, Clare Patey, Emily Jacir, Gwynne Fulton, Jon Rafman, Kader Attia, Liz Sterry, Mariana Marcassa, Nedko Solakov<\/div>\n
Andrea Bowers, Clare Patey, Emily Jacir, Gwynne Fulton, Jon Rafman, Kader Attia, Liz Sterry, Mariana Marcassa, Nedko Solakov<\/div>
Andrea Bowers, Clare Patey, Emily Jacir, Gwynne Fulton, Jon Rafman, Kader Attia, Liz Sterry, Mariana Marcassa, Nedko Solakov<\/div>","protected":false},"excerpt":{"rendered":"","protected":false},"author":15,"featured_media":199218,"template":"","categories":[887,1398],"numeros":[],"disciplines":[],"statuts":[],"checklist":[],"auteurs":[935],"artistes":[6745,2082,5704,2861,2153,2862,2079,4227],"type_chronique":[3265],"yoast_head":"\nFaire Secret \/ Keep the Secret – Esse<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/esse.ca\/en\/columns\/faire-secret-keep-the-secret\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Faire Secret \/ Keep the Secret\" \/>\n<meta property=\"og:url\" content=\"https:\/\/esse.ca\/en\/columns\/faire-secret-keep-the-secret\/\" \/>\n<meta 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