ISTORIJSKI KONTEKSTI BIOMOĆI U SLIKARSTVU FRENSISA BEJKONA I U TEORIJI POSTSTRUKTURALISTA

Abstract

The art of Francis Bacon is positioned as a London school of figurative painiting of the second half of the twentieth century, and as such it is the most direct reflection of the post-war traumas of the Nazi regime that befall Europe and the world. It was exactly at the time, at the intersection of social, economic, scientific and technological and cultural practices, that a Western neoliberal order was formed. It is a sample or archeological/historical layer also studied by post-structuralists Michel Foucault, Gilles Deleuze, Felix Guattari. This text is an attempt of explication of certain links in the opinion that connect the painting of Francis Bacon and the theory of post-structuralism, which are focused on the issues of development of biopower within certain historical sites. Namely, post-structuralists realise that archeological layers are volatile historical categories, and each of them is an independent social and cultural creation. Bacon authentically connects these historical layers through his visual language, referring to older painters such as Velasquez, Rembrandt, Ingres or Van Gogh. Thus Bacon re-examines the status of the subject (conceptualises life by the powers of death using human body) and its liberties both in liberal and in neoliberal societies.