Abstract Humour and the Joke-Work in Contemporary Art

This critical essay examines the role of humour in modern art through a Deleuzian perspective, differentiating it from irony. It describes a seminar incident where a student altered a Haim Steinbach installation, prompting discussions about the artist's intent. The author contends that current art discussions often merge irony with humour, thereby diminishing humour to mere resigned pathos. Instead, humour should be viewed as a positive force that generates new challenges. Martin Kippenberger's 'Disco Bomb' (1989) serves as an illustration of 'abstract humour,' while Liam Gillick's creations reflect irony. Freud's insights differentiate joke-work from comedy, highlighting its social dynamics. The author proposes a Deleuzian reinterpretation of the joke in relation to contemporary art, citing artists like Albert Oehlen and Jeff Koons, and framing humour as a political instrument.