Against Identification: Gerard Byrne's Brechtian Tendencies

Abstract

The work of contemporary Irish artist Gerard Byrne exemplifies the principle that underpins the theory of knowledge called perspectivism: that is, the idea that the perspectives of different individuals and groups contribute to what can be known about something. Byrne's model of ethical communication depicts the social world as comprising such fundamentally different perspectives. His work achieves a concatenation of viewpoints through a unique updating of one of the most wellknown modernist theatrical techniques, Bertolt Brecht's Verfremdungseffekt, the alienation effect or' A-effect'. While Byrne's use of Brechtian techniques is frequently noted, his highly innovative approach to using them is not explored. His originality lies in his revival of the complexity of Brecht's A-effect, revealing what I call Brecht's additive approach: the addition of distancing techniques alongside modes of engagement, identification, and bringing close. I will explore a selection of Byrne's video installations that demonstrate this additive approach, namely, New Sexual Lifestyles (2003), 1984 and Beyond (2005-7), and An Exercise with Questions and Answers (2008)