The Palliative Society. Byung-Chul Han

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The Palliative Society - Byung-Chul Han


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society does not permit pain to be enlivened into a passion, to be given a language.

      A report on an auction of modern and contemporary art reads: ‘Whether Monet or Koons, whether Modigliani’s popular reclining nudes, Picasso’s female figures, or Rothko’s sublime colour-block paintings – even, at the top end of the market, excessively restored pseudo-Leonardo trophies – apparently all these need to be assignable upon first sight to a (male) artist and to be so likeable as to border on the banal. At least now a female artist has begun to break into this circle: Louise Bourgeois set a new record for a gigantic sculpture – thirty-two million for her work from the nineties, Spider. Even a gigantic spider can apparently be more decorative than threatening.’6 In the works of Ai Weiwei, even morality is presented in such a way as to inspire likes. Morality and likeability enter into a happy symbiosis. Dissidence decays into design. Jeff Koons, by contrast, creates like-worthy art that is morality-free, and ostentatiously decorative. The only adequate response to his artworks, as he himself states, is ‘Wow’.7

      Art today is vehemently forced into the straitjacket of the like. The old masters are not spared by this anaesthetization of art either. They are even linked up with fashion design: ‘The exhibition of selected portraits was accompanied by a video demonstrating how well historical paintings by, for instance, Lucas Cranach the Elder or Peter Paul Rubens could be colour matched with contemporary designer clothes. And of course the video did not fail to mention that historical portraits are a precursor of today’s selfies.’8

      ‘Goosebumps’, Adorno says, are ‘the first aesthetic image’.10 They express the dawn of the other. A consciousness that is unable to shudder is a reified consciousness. It is incapable of experience, for experience ‘is in essence the suffering in which the essential otherness of beings reveals itself in opposition to the tried and usual’.11 A life that rejects all pain is also reified. Only ‘the act of being touched by the other’ keeps life alive.12 Or else it remains a captive in the hell of the same.

      1 1. Ernst Jünger, On Pain, Candor: Telos Press, 2008, p. 32.

      2 2. See Chantal Mouffe, Agonistics: Thinking the World Politically, London: Verso, 2013.

      3 3. See Barbara Ehrenreich, Smile or Die: How Positive Thinking Fooled America and the World, London: Granta, 2010.

      4 4. See Edgar Cabanas and Eva Illouz, Manufacturing Happy Citizens: How the Science and Industry of Happiness Control our Lives, Cambridge: Polity, 2019.*

      5 5. David B. Morris, The Culture of Pain, Berkeley: University of California Press, 1991, p. 71.

      6 6. Marcus Woeller, ‘Gefälligkeiten machen sich bezahlt’, Die Welt, 18 May 2019.

      7 7. See Byung-Chul Han, Saving Beauty, Cambridge: Polity, 2017, p. 2.

      8 8. Astrid Mania, ‘Alles wird Pop’, Süddeutsche Zeitung, 8/9 February 2020.

      9 9. Theodor W. Adorno, Aesthetic Theory, London: Continuum, 2002, p. 183.

      10 10. Ibid., p. 331.

      11 11. Martin Heidegger, Parmenides, Bloomington: Indiana University Press, 1992, pp. 166f.

      12 12. Adorno, Aesthetic Theory, p. 331.*

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