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 | | In this chronology, the relation between original and copy seems finally replaced by a series of simulations, like so many smutty postcards carried between metropolitan centre and colonial margin, in which all productions are restagings, marked by a sense of their belatedness and inauthenticity. |
 | | We might pause to consider that Gauguin's painting records what Foster would call "primitivist ambivalence" with all the efficiency of a stereoscope--it is technically able to present two images as one.34 Manao Tupapau conflates the native and the sodomitically perverse, it stages an interference between European regression and indigenous truth in an inescapably formalist register. |
 | | If, in its representation of a primitivist scopic field, it revises the space of observation and structures a gaze that invades the seamlessness of looking, if it unsettles vision--and hermeneutics--with hesitations and anxieties, with ambivalent doublings, it also suggests the impossibility of ever falling outside that scene. |
| www.genders.org /g28/g28_gauguin.txt (7321 words) |
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