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Abstract
In the last decades St Paul has been at the centre of debates on the relation between (radical) politics and religion. Taking a painting by Pieter Bruegel the Elder as point of departure – a painting that depicts the moment when Saul is struck – this article investigates the quasi-theological role that art has been given by important thinkers longing for the revolutionary New. By turning Gilles Deleuze and Hannah Arendt into allies, this article first of all explores the political derailment of fabrication caused by the turn towards sovereignty and then investigates how art could get back its potential to enhance the body’s power to act by means of its connection with ‘earth’.
Abstract
In the last decades St Paul has been at the centre of debates on the relation between (radical) politics and religion. Taking a painting by Pieter Bruegel the Elder as point of departure – a painting that depicts the moment when Saul is struck – this article investigates the quasi-theological role that art has been given by important thinkers longing for the revolutionary New. By turning Gilles Deleuze and Hannah Arendt into allies, this article first of all explores the political derailment of fabrication caused by the turn towards sovereignty and then investigates how art could get back its potential to enhance the body’s power to act by means of its connection with ‘earth’.