mimetic desire


The philosopher Rene Girard theorizes that one wants (desires) an object, because another (of whom one admires &/or looks up to &/or envies) wants (desires, or is perceived to desire) a similar (if not the same) object.  The object wanted (desired) is sometimes less important than actual need.  The perception that another, may want the object (of desire), (more or less) also (sometimes) surpasses this need.  Another (real &/or imagined, hated &/or loved) is always present in the triad of memetic desire.  

Basically, one wants an object because another wants that object too (according to Girard).  When the desired object is scarce (say $$$, or a beautiful person &c.) a rivalry occurs, sometimes resulting in conflict (&/or death). 

–aurelio madrid

(key to above chart)  


object (of desire):

Meret Oppenheim, 1936
Why it matters: Of all the strange and compelling objects by the Surrealists, Oppenheim’s fur-lined cup and saucer is a true icon. It’s a commonplace object transformed into a work of art that alludes to the subconscious and nightmares. It’s funny and absurd and has potent sexual connotations. We recoil even as we are seduced by its sensuality and improbability.
How it happened: While at a Paris cafe, Pablo Picasso admired Oppenheim’s fur bracelet and remarked that one could cover just about anything with fur. “Even this cup and saucer,” Oppenheim replied.

Cup 4 3/8 inches diameter, saucer 9 3/8 inches diameter, spoon 8 inches long, overall 2 7/8 inches high. 


model (the other &/or rival) 

Anthony Gormley

Domain XXIV


Stainless steel bar

4.76 mm x 4.76 mm 190 x 57 x 37 cm


self (subject):

Aurelio Madrid

untitled (self portrait)


Graphite on paper

7 ½” x 5 ½” 

mimetic desire:


a conversation with René Girard about his theory of mimetic desire with Robert P. Harrison:


rené girard:


jenny holzer:


ubuweb sound

beckett_header.jpgAbout UbuWeb Sound

Originally focusing on Sound Poetry proper, UbuWeb’s Sound section has grown to encompass all types of sound art, historical and contemporary. Beginning with pioneers such as Guillaume Apollinaire reading his “Calligrammes” in 1913, and proceeding to current practitioners such as Vito Acconci or Kristin Oppenheim, UbuWeb Sound surveys the entire 20th century and beyond. Categories include Dadaism, Futurism, early 20th century literary experiments, musique concrete, electronic music, Fluxus, Beat sound works, minimalist and process works, performance art, plunderphonics and sampling, and digital glitch works, to name just a few. As the practices of sound art continue to evolve, categories become increasingly irrelevant, a fact UbuWeb embraces. Hence, our artists are listed alphabetically instead of categorically.


joseph beuys 1921-1986




Joseph Beuys was born in 1921 in Krefeld, a city in northwestern Germany near the Dutch border. He grew up in the nearby towns of Kleve and Rindern, the only child in a middle class, strongly Catholic family. During his youth he pursued dual interests in the natural sciences and art, and he chose a career in medicine. In 1940 he joined the military, volunteering in order to avoid the draft. He was trained as an aircraft radio operator and combat pilot, and during his years of active duty he was seriously wounded numerous times. At the end of the war he was held in a British prisoner-of-war camp for several months, and returned to Kleve in 1945.Coming to terms with his involvement in the war was a long process and figures, at least obliquely, in much of his artwork. Beuys often said that his interest in fat and felt as sculptural materials grew out of a wartime experience–a plane crash in the Crimea, after which he was rescued by nomadic Tartars who rubbed him with fat and wrapped him in felt to heal and warm his body. While the story appears to have little grounding in real events (Beuys himself downplayed its importance in a 1980 interview), its poetics are strong enough to have made the story one of the most enduring aspects of his mythic biography.On his return from the war Beuys abandoned his plans for a career in medicine and enrolled in the Düsseldorf Academy of Art to study sculpture. He graduated in 1952, and during the next years focused on drawing–he produced thousands during the 1950s alone–and reading, ranging freely through philosophy, science, poetry, literature, and the occult. He married in 1959 and two years later, at the age of 40, was appointed to a professorship at his alma mater.

During the early 1960s, Düsseldorf developed into an important center for contemporary art and Beuys became acquainted with the experimental work of artists such as Nam June Paik and the Fluxus group, whose public “concerts” brought a new fluidity to the boundaries between literature, music, visual art, performance, and everyday life. Their ideas were a catalyst for Beuys’ own performances, which he called “actions,” and his evolving ideas about how art could play a wider role in society. He began to publicly exhibit his large-scale sculptures, small objects, drawings, and room installations. He also created numerous actions and began making editioned objects and prints called multiples.

As the decades advanced, his commitment to political reform increased and he was involved in the founding of several activist groups: in 1967, the German Student Party, whose platform included worldwide disarmament and educational reform; in 1970, the Organization for Direct Democracy by Referendum, which proposed increased political power for individuals; and in 1972, the Free International University, which emphasized the creative potential in all human beings and advocated cross-pollination of ideas across disciplines. In 1979 he was one of 500 founding members of the Green Party.

His charismatic presence, his urgent and public calls for reform of all kinds, and his unconventional artistic style (incorporating ritualized movement and sound, and materials such as fat, felt, earth, honey, blood, and even dead animals) gained him international notoriety during these decades, but it also cost him his job. Beuys was dismissed in 1972 from his teaching position over his insistence that admission to the art school be open to anyone who wished to study there.

While he counted debate, discussion, and teaching as part of his expanded definition of art, Beuys also continued to make objects, installations, multiples, and performances. His reputation in the international art world solidified after a 1979 retrospective at New York’s Guggenheim Museum, and he lived the last years of his life at a hectic pace, participating in dozens of exhibitions and traveling widely on behalf of his organizations. Beuys died in 1986 in Düsseldorf. In the subsequent decade his students have carried on his campaign for change, and his ideas and artwork have continued to spark lively debate.

-Joan Rothfuss, Walker Art Center curator

FURTHER READINGAdriani, Götz, Winfried Konnertz, and Karin Thomas. Joseph Beuys: Life and Works. Translated into English by Patricia Lech. Woodbury, New York: Barron’s Educational Series, Inc., 1979.Stachelhaus, Heiner. Joseph Beuys. Translated into English by David Britt. New York: Abbeville Press, 1991.

Temkin, Ann. “Joseph Beuys: An Introduction to His Life and Work.” In Thinking Is Form: The Drawings of Joseph Beuys. Philadelphia and New York: Philadelphia Museum of Art and Museum of Modern Art, 1993.


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