Dubravka Ugrešić

Karaoke Culture


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images (stamps, for example) he would have photographically enlarged.

      Darger’s personal world is shaped by a number of factors, including the trauma of growing up in an orphanage (which he later fled), a childlike interest in the American Civil War (which they say he inherited from his father), Catholicism, mental illness, solitude, poverty, repressed sexuality, monomania, and a childlike fear of adults.

      He would often glue his drawing paper into a long roll, painting it on both sides. Most of Darger’s pictures feature little girls, nymphettes, the prototypes for which he copied from newspaper advertisements and children’s fashion magazines. The soldiers in his pictures (largely inspired by American Civil War comics) represent the world of evil grown-ups. His nymphettes are located in rich phantasmagorical landscapes, in spaces that are part paradise and part war-zone.

      Darger’s sprawling composition In the Realms of the Unreal tells the story of the seven Vivian girls and their struggle against the evil Glandelinians who keep children as slaves. The Vivian girls free the children and defeat the evil Glandelinians. The child-slaves are naked and, were it not for their penises, would also appear as young girls. Nakedness points to innocence and sacrifice, with crucified children frequent motifs. The Blengins are giant mythical beings—naked young girls again, with penises. Their heads bear heavy rams’ horns, their backs enormous wings and dragons’ tails.

      Darger’s compositions provoke a conflicted feeling, somewhere between attraction and rejection, wonderment and unease. His visual world overflows with details, bodies, faces, and colors. His images of young girls are identical, one little clone next to another. It seems that Darger crammed his pictures with everything he saw, and everything he saw he “stole” from the surrounding “cardboard” everyday. His world is one in which giant frogs and horsemen, flying childlike beings, giant ducks, flowers of different colors and types, distorted Mickey Mouse heads, and sunflowers that dwarf clouds all simultaneously co-exist. A child’s utopia and a kingdom of evil.

      Darger was proclaimed a great artist when his world, finally in tune with the Zeitgeist, could be understood as art. There is an inadvertent correspondence between Darger’s world and contemporary cultural practice. His way of thinking can be compared to that of a child who spends day and night on the Internet. Cut and paste is Darger’s primary artistic technique, and today, with Photoshop and programs such as Illustrator and Brushes, he would get the job done much quicker. Teenagers use different computer programs in this same way, the practice of vidding, making video clips and posting them on YouTube, is a good example. Teenagers trawl the alluring chaos of popular culture, selecting, combining, parodying, ridiculing, retouching, and beautifying, turning hierarchical relationships on their heads, making the incompatible compatible.

      The second respect in which Darger’s art corresponds with contemporary cultural practice is that his imagination, fired by popular culture, is perfectly in tune with the contemporary hunger for parallel fantasy worlds. In the world of Harry Potter children also create their own communities, fly, inhabit magical worlds, struggle against the forces of evil (most frequently embodied by adults), perform miracles, befriend mythical beings, and take control. In all of this the borders between worlds are soft. Darger’s visual poetics likewise overlap with the aesthetics of popular mass media products, from comics to computer games. In this respect his poetics can be understood as a harbinger of manga and anime aesthetics.

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      Karaoke

      Writing

      Masters and Amateurs

      Every time I come across a story on contemporary artists