slavoj zizek; the time of change, interviews you can believe in 1998-9

Slavoj Zizek London 1998 [photo Mykel Nicolaou]

I first met Slavoj Zizek in Bloomsbury in 1998 to conduct a relaxedly spontaneous, short but full-blooded interview in what I was to discover is the authentic Zizekian mode. I knew his work, had seen him speak, admired his reworking of various Idealists more than the brilliant-but-familiar bug-eyed film theorist and, armed only with a dodgy autobiographical preface, wondered about who he was. I’ve just found the 22,000 word transcript  of that first meeting. Afterwards we wandered through Georgian Squares in the University quarter and he graciously accompanied me as far as possible whilst exchanging gossip eagerly, before cutting back to a meeting.

That initial meeting was something of a rehearsal for a plan for me to go to Ljubljana -before easyjet!- to spend a week doing a series of focused interviews. Whilst in that memorably lively city, Zizek would introduce me to key figures from Slovenia’s recent underground; activists, politicos, Laibach, Mladen Dolar and the Lacanian gang, etc. Those sessions produced 14 hours of tape containing dense and agile theorising, but the generous backers of my trip bottled out of publishing the resulting coup [editor had been ‘moved on’, their ‘reliable’ stand-in quoted Bertrand Russell approvingly, as in ‘the only thing I know about Hegel is what Bertrand Russell said…” Weep] -as was always an open possibility. A possibility that had liberated me to do it fully and properly.

Thereafter, there were some telephone conversations and emails  and Zizek sent me his “Kosovo 4.99” piece on the double bind of supporting exceptionally belated foreign intervention to stop Serbian fascism’s campaign of ethnic cleansing; Against the Double Blackmail. A phrase from a clarifying phone call I made to him went in to the first substantial piece published on him in a UK journal [below] around publication of The Ticklish Subject and The Zizek Reader in 1999.

The so-called “Kosovo 4.99” text Zizek sent me was then staged as an exhibition of wall-texts [with a pirate radio installation by Gregory Green] at Cubitt Gallery and as an insert in the pages of Third Text magazine. I came across the original email to me with that ‘lost’ interview transcript. At the time I asked Cubitt to remove the note from SZ with thanks to me from their website because I was embarrassed! Somehow, they took the whole text down instead. After all this time, I’m linking to a pdf of it below with no shame at all.

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richard hamilton v&a talk march 2010; “everybody should read eyal weizman.”

This is an audio of Richard Hamilton’s talk, currently up on the Serpentine Gallery’s site. I’ve made extensive notes of what is newest in it below, which concentrates on previously unexhibited work towards the end of the talk. Most of the 119 minutes here is RH himself; beginning at 11 mins in and ending at 87 mins after which is a short discussion with Hans-Ulrich Obrist. The audio ends at 109 mins in fact.

Much of what he says about individual pieces through his career he has said before in interviews recently republished in Richard Hamilton October Files 10, for example. However, even if you know those well it’s different, of course, to hear how he talks about the word pop and his emphases, hesitations, digressions in general. Especially interesting is what he has to say about Palestinian dispossession and the work it has generated.

 Richard Hamilton 9 March 10 by Serpentine Gallery

RH starts by saying he wants “to give you some impression of what my work is about” beyond the political works at the Serpentine show. So he begins with the “cool fifties”;

Hers is a lush situation [1958]. “So much was happening at that time … I was fascinated in the uncertainty principle for example … influence I felt most was that it was not a good idea to get involved in value judgments …

Hal Foster is, as ever, good on the transition from “the “tabular” pictures in the late 1950s. This suite of paintings, still too little known, explores the emergent visual idioms of postwar consumer society … in a mode of suave pastiche…

In subsequent work by Hamilton, this satirical edge subsides, yet a political dimension persists. It is often subtle, however, because Hamilton is concerned to capture less the political event than its mediation -how it is produced for us precisely as an image- and it is this mediation that he both elaborates and exposes.” [my emphasis]

[From Citizen Hamilton, pp 145-159 RH October Files 10. MIT Press 2010 here. MIT have one of the book’s interviews -w. Michael Craig-Martin 1990- online, here.]

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