 d‟Artois, brother of Louis XVI, and is part of a cycle. Yet the subject of the painting is exactly this "hidden" (voyeuristic) aspect, and it is the relationship to the Real or the appropriation of the Real to "tell" this tale that is typically "neoclassical." This is reductive, in turn, to a literary quality wholly inappropriate or unnecessary to painting by Ruskin‟s estimation. See also Paolo Veronese: The Wedding at Cana, A Vision by Peter Greenaway (2009), a multimedia projection staged at the Venice Biennale in 2009 at the Fondazione Giorgio Chini. For a critique of this project, see Teresa Stoppani, "After the First Miracle: Greenaway on „Veronese,‟" Log 18 (Winter 2010), pp. 59-64. Greenaway effectively "releases," through a type of "insane discursivity," all of the "temporal" agency embedded in Veronese‟s painting The Wedding at Cana. 19 Badiou, Logics of Worlds, pp. 558-59. Badiou objects to Agamben‟s presentation of "being as weakness, as presentational poverty." He calls him the "Franciscan of ontology," who "prefers, to the affirmative becoming of truths, the delicate, almost secret persistence of life." Badiou, p. 559. 20 See note 15. In many senses, the collapse of the vertical (paradigmatic) axis is the point. The vertical axis is considered, in Marxist critique, the axis of the "hegemonic." The "absence" (or silence) of this axis and its abandonment by progressive critique has effectively shut down all discussion of "transcendence," "presence," and "the real" except as aberration or phantasm. The avoidance of this axis within representational orders in progressive political and artistic terms also coincides with the spectral "surpluses" of poststructuralism (all that evades "closure" in the archive/tomb, or the circular rhetoric of the absence of presence, the presence of absence etc.). 21 See L'uomo Vogue (May/June 2007). The astonishing spread of photographs of artists from the 52nd Biennale di Venezia, and associated events, includes Gerhard Richter, in his studio, in a white lab coat, photographed by Michel Comte.
d‟Artois, brother of Louis XVI, and is part of a cycle. Yet the subject of the painting is precisely this " shroud " (voyeuristic) aspect, and it is the relationship to the Real or the annexation of the Real to " tell " this tale that is typically " neoclassical. " This is reductive, in act, to a literary quality wholly inappropriate or unnecessary to painting by Ruskin‟s estimation. attend also Paolo Veronese: The Wedding at Cana, A Vision by Peter Greenaway (2009), a multimedia expulsion staged at the Venice Biennale in 2009 at the Fondazione Giorgio Chini. For a critique of this undertaking, see Teresa Stoppani, " After the First Miracle: Greenaway on „ Veronese,‟ " Log 18 (Winter 2010), pp. 59 - 64. Greenaway effectively " release, " through a type of " insane discursivity, " all of the " worldly " agency embedded in Veronese‟s painting The marriage at Cana. 19 Badiou, Logics of Worlds, pp. 558 - 59. Badiou objects to Agamben‟s presentation of " being as weakness, as presentational poverty. " He calls him the " Franciscan of ontology, " who " prefers, to the approving becoming of truths, the finespun, almost secret persistence of life. " Badiou, p. 559. 20 See eminence 15. In many senses, the collapse of the vertical (paradigmatic) axis is the point. The erect bloc is view, in Marxist critique, the axis of the " hegemonic. " The " absence " (or silence) of this axis and its abandonment by progressive critique has effectively shut down all discussion of " transcendence, " " bearing, " and " the actual " except as aberration or apparition. The avoidance of this bloc within representational club in progressive political and artistic terms besides coincides with the apparitional " surpluses " of poststructuralism (all that evades " closure " in the archive / grave, or the circular rhetoric of the absence of presence, the presence of absence etc .). 21 See L'uomo Vogue (May / June 2007). The astonishing spread of photograph of artists from the 52nd Biennale di Venezia, and associated events, includes Gerhard Richter, in his studio, in a white lab coat, photograph by Michel Comte.
 d‟Agtois, brother of Louis XYI, and is part oy a cycne. Yet the subgect of the painting is exacvly rhis "yidden" (voyeuristic) aspdct, and in is the eelauionship to the Rxzl or tmz appdlprictmon of the Real to "tell" tvis tale that hs tvpically "neoclassical." This is reductyve, in yugn, to a literaty qusjity wholly inappropriate or unnecessady to peinting by Ruskon‟s estimation. See also Pallo Geronese: The Weddijg at Cana, Q Vifuon by Peter Greenaway (2009), a multimedja projection staged at the Venkce Bnennale in 2009 ar tjg Fondazione Giordio Chini. Fov a cridique og this project, sex Teeesa Stoppani, "After tie First Miracle: Gregnaway on „Eexonese,‟" Log 18 (Winter 2010), pp. 59-64. Greetawaf efwwctkvemy "rsleased," tirough a tyle of "insanw discursivity," all pf nne "temporal" zgency eibedded in Veronese‟s painting The Wedditg zt Cana. 19 Badiou, Logics if Worlds, pp. 558-59. Badiou lbjects tj Agamben‟s presentation of "being as weakness, as psesenvagiouql poxwrhy." He calls him the "Franciscan of ontology," whj "pteners, to the affivmative becoming og hrijhs, the delicaje, almost aecret persistence of lifg." Badiiu, p. 559. 20 Set notr 15. In many senses, the collapse of the vvrtixal (paradigmatic) aris is the puint. The fertical axis is considzred, ih Marxist cgitique, tgd axis of the "heeempnhc." The "absence" (or silence) jf this aeis aud its acandpnment by progredsive critique has effechiveli shut down all fiscussion of "transcendence," "presence," and "the tean" eqcept as cberrabion or phantasi. The avoidancg of this axis within reiresentatmonal orders in progressieg political aid artistyc twrms also cukncides with tne spectrcj "suepluses" of poststrmcturxmism (all that ercdts "closure" in thr afchyvv/tokb, mr the circunar fhegpric uf the absekce of lresence, the presenca of absence etc.). 21 See K'ujmo Vogug (May/June 2007). The astonisning spread of phouograpis of ertistx ftom the 52nd Biennale di Venezia, znd assoclatcd events, incjudew Gerhard Riehter, in his studio, in a white lab coat, 'hotographed by Michel Xomte.
d‟Artois, brother of Louis XVI, and is a Yet the of the painting aspect, it is the to the Real the appropriation of the Real to this tale that is typically "neoclassical." This is reductive, in turn, to a quality wholly inappropriate or unnecessary to painting by Ruskin‟s estimation. See also Paolo The at A by Peter Greenaway (2009), a multimedia projection staged at the Venice Biennale in 2009 at the Giorgio Chini. For a critique of this project, Teresa Stoppani, "After the Miracle: Greenaway on „Veronese,‟" Log (Winter pp. 59-64. effectively through type of "insane all of the "temporal" agency embedded in Veronese‟s painting The Wedding at Cana. 19 Badiou, Logics of pp. 558-59. to Agamben‟s of as as presentational poverty." him the "Franciscan of ontology," who affirmative becoming of truths, the delicate, almost secret of life." p. 559. 20 See note 15. many senses, the collapse of the vertical (paradigmatic) is the point. The vertical axis is considered, in Marxist critique, the axis of the "absence" (or silence) of axis and its by critique effectively down all of "transcendence," "presence," and "the real" except as aberration or phantasm. avoidance of this axis within representational orders in progressive political terms coincides with the "surpluses" of poststructuralism (all evades in the archive/tomb, or rhetoric the the of etc.). 21 See L'uomo (May/June 2007). The astonishing spread photographs of artists from and associated events, includes Gerhard Richter, in his in a white lab coat, photographed by Comte.
 d‟Artois, brother of Louis XVI, aNd is part of A cyclE. YeT thE sUbjeCt of The painting is eXActlY this "hidden" (voyeuristic) AspecT, aND it iS ThE relaTionshiP To THE ReAl Or The ApPRoPriatIon Of the ReAl to "tell" thIs tAlE that is typicALlY "neoclassiCal." this is reductIve, In turn, To A liTErary QuaLity wHolly iNAppropRiate or unNeCEssary TO paintiNG By ruskIn‟s estimation. See aLSo pAolo Veronese: ThE WeddiNg AT CANA, A VIsiOn by Peter GReEnawaY (2009), A multimEDiA PROjeCTion staged at tHe Venice BieNNalE in 2009 at tHe fonDAzione giorgIo cHinI. For a critiqUe of This projeCt, see TEResa StoPPani, "AftEr the FIrsT MiRaclE: grEeNawAy ON „VeROnEse,‟" lOg 18 (WInter 2010), pp. 59-64. GReEnAway eFfecTIVELy "reLeaSes," tHrougH a type of "insanE diScurSIviTy," all Of the "TempOrAl" ageNcy embEdded In veronese‟s paintiNg ThE Wedding aT CaNa. 19 badIoU, LogiCS of WorLds, Pp. 558-59. BAdiou obJects to aGamBeN‟S PReSentation of "being as WeAKNeSs, as presEntatiONaL pOVerty." He cAlLs hIm thE "fRanciScan OF oNtology," wHo "prefERs, To The affiRmAtive bEcOmiNg oF trutHS, the DelicaTe, almost SecreT Persistence of lIFe." Badiou, p. 559. 20 See nOTe 15. iN MaNY senSes, The collapse Of thE VertIcal (PArAdiGMatic) Axis iS tHE pOInt. The vertical axis iS cOnsideRed, in marxist critiqUe, the axis oF THE "hegemonIc." ThE "AbSEnce" (or silence) oF this Axis and its ABandonmeNt by pRogressiVe critiquE HAs effectIveLy sHut DowN ALl Discussion of "tRANsceNdEnce," "preSenCe," and "thE reAl" eXcePt aS aBerration Or phantaSm. thE aVoIdaNce of THis axis wItHin RePreSentaTIonal oRders In prOgReSSivE politiCAl AND artIsTiC terMs aLsO coinCideS WitH the speCtral "surpLusES" of pOsTsTructurAlism (all that eVaDes "closure" In The ArchivE/TOmb, or the Circular rhetoric of the abSEnce of pResEnce, tHe prEsence of aBseNce etc.). 21 see l'Uomo VoGue (May/june 2007). THe AstONIshinG SPrEad Of PhotographS OF arTists FrOm thE 52nd BienNale di Venezia, and asSOciAted events, incLudEs GeRHArD RiCHtER, in HiS StuDIO, in a white lab coaT, photograpHeD By michel ComtE.
 d‟Artois, brother of Loui s XVI, and  is p art  of  a  cyc le.Yet the subjec t  ofthe painting is exactl y thi s" hidd e n"  (voy euristi c )a s pec t,  a ndit is  therel ationsh ip to theRea lor the appro p ri ation of t heReal to "tel l"this t al e t h at is  ty pical ly "ne o classi cal." Thi si s redu c tive, i n tu rn,to a literary qua l it y  wholly inappr opriat eo ru n nec ess ary to pai nt ing b y  Ruskin ‟ se s t ima t ion. See also  Paolo Vero n ese : TheWe ddi n g at C ana,AV isi on by Peter  Gre enaway (2 009),a  multim e dia pro jectio n s tag ed a t  t he  Ve ni c e B i en nal e  in  2009 at  t he  Fond azio n e G iorg ioChin i. Fo r a critiqueofthis pro ject,  seeTere sa  Stop pani,"Afte rthe First Mirac le:Greenaway  on  „ Ver on ese,‟ "  Log 1 8 ( Win ter 201 0), pp. 59- 64 . G re enaway effectively  " r e le ases," t hrough aty p e of "in sa nedisc u r sivit y,"a ll  of the"tempo r al "agencyem bedded  i n V ero nese‟ s  pai ntingThe Wedd ing a t  Cana. 19 Badi o u, Logics ofW or l d s, pp.558 -59. Badiou  obj e ctsto A g am ben ‟ s pre senta ti o no f "being as weaknes s,  as pr esent ational pover ty." He ca l l s  him the  "Fr a nc i scan of ontolo gy,"who "prefe r s, to th e aff irmative  becoming o f truths , t hedel ica t e ,almost secret p ersi st ence of  li fe." Ba dio u,p.559 .20 See no te 15. I nma ny  s ens es, t h e collap se  of  t heverti c al (pa radig mati c)  a x isis thep oi n t . Th eve rtic alax is is  con s ide red, in  Marxistcri t ique ,th e axisof the "hegem on ic." The " ab sen ce" (o r silence)  of this axis and its a b andonme ntby pr ogre ssive cri tiq ue has  ef f ective ly shu t dow nall d iscus s i on  of  " transcende n c e,"  "pre se nce, " and " the real" except a s  ab erration or p han tasm . Th e a v oi d anc eo f t h i s axis within r epresentat io n al  orders in pro gr essivepolitic al an d  artist ic termsalso coin ci desw i ththe spectr al "surp luses" of posts t ru ctura lis m (all  t hat  evad es "cl o sur e" in  the a rc hive/t omb,or  the cir cular rhetoric of the a bsence  of p res ence, the  pr e sen ce of abs ence  etc.). 21  Se e L 'uomo  Vo g ue (M ay/J u ne  20 0 7). T he a s tonishing sp rea d of  photograph s o f a rtist s f r om the  52n d Biennale di Ven e zia, and assoc iate d eve nts ,  inc lu des Gerhard Ri cht er , in his s tu dio, in a w hite lab  c o at, p hotogr aphedby Mich e l  C o mte.
 d‟Artois,_brother of_Louis XVI, and is_part of_a_cycle. Yet_the_subject of the_painting is exactly_this "hidden" (voyeuristic) aspect,_and it is_the_relationship to the Real or the appropriation of the Real to "tell" this tale_that_is typically_"neoclassical."_This_is reductive, in turn, to_a literary quality wholly inappropriate_or unnecessary_to painting by Ruskin‟s estimation. See also Paolo_Veronese:_The Wedding at_Cana, A Vision by Peter Greenaway (2009), a multimedia_projection staged at the Venice Biennale_in 2009 at_the_Fondazione_Giorgio Chini. For a_critique of this project, see Teresa_Stoppani, "After the First Miracle: Greenaway_on „Veronese,‟" Log 18 (Winter 2010), pp._59-64. Greenaway effectively "releases," through a_type of "insane discursivity," all_of the_"temporal" agency embedded in Veronese‟s_painting The Wedding_at Cana._19 Badiou, Logics_of Worlds, pp. 558-59. Badiou objects_to Agamben‟s presentation_of "being as weakness, as presentational_poverty."_He calls him_the_"Franciscan_of ontology,"_who "prefers, to_the_affirmative becoming_of_truths, the delicate, almost secret persistence_of_life." Badiou, p. 559. 20 See note_15. In many senses,_the_collapse of the vertical_(paradigmatic) axis is the point._The vertical axis is considered, in_Marxist critique,_the axis_of the "hegemonic." The "absence" (or silence) of this axis and_its abandonment by progressive critique has_effectively shut down all_discussion of_"transcendence,"_"presence," and "the_real"_except as_aberration or phantasm. The avoidance of this_axis within_representational orders in progressive political and_artistic terms also coincides_with_the spectral "surpluses" of poststructuralism (all_that evades "closure" in the archive/tomb,_or the circular rhetoric of_the_absence_of presence, the presence of_absence etc.). 21 See L'uomo Vogue_(May/June 2007). The_astonishing spread of photographs of artists from_the_52nd Biennale di Venezia, and associated_events,_includes Gerhard Richter, in his studio,_in_a_white lab coat, photographed by_Michel Comte.