By analysing the formal aspects of the two artworks I have chosen, I’ve done a very practical research paper that is helping me shape the new piece I’m making. This paper is a chapter of a bigger research I’m doing based on playfulness in cruelty through technology. Although I’m very keen on discussing this paper, I am also interested in discussing with the group the broader aspect of my research.
Title of the research paper
By comparing the Capricho number 47 of Goya and the hoax “Gilda” of the Yes Men, this paper will investigate how satire sets up scenes of sacrifice to bring to light the darkest pleasures of humankind.”
The focus of this paper is to research about how satirical artists have set up scenes of sacrifice. It starts by comparing Goya and The Yes men, two different artists in two different socials contexts in two different continents with 200 years of difference between them. After understanding their social context, this investigation will analyse the second part of “Los Caprichos” and the hoaxes of the artist duo The Yes Men as a framework to study how satire represents the darkest pleasures of humankind. Also, this analysis will focus on the scenes of sacrifice depicted in the Capricho number 47 “Gift to the master” and the hoax “Gilda” of the Yes Men. By comparing them and finding their similarities and contradictions, this paper will conclude that an effective way to set up these sacrifices is to imitate the staging of their ceremonies. The paper will add that the artist plays the role of a catalyst, talking and acting like any other “witch” involved in the ritual. The artist can increase the absurdity of the scene to satirise about a topic by playing with the meanings of the message. The investigation will also point that a successful imitation can lead to confusion in the audience’s interpretation and eventually, a small part of the crowd might engage with the absurd ideas of the artist, bringing to light their darkest pleasures.
Key Words Goya, Yes Men, satire, sacrifice, evil.
When the artist is not present in a ritual, how can the audience’s evilest desires be pushed naturally?
Until what extend an artwork that is created to give the chance to engage with dark pleasures must be controlled?
Goya’s example visually represents evil scenes and the Yes Men are performing live in a lecture. The first does not look for any interaction, and the second ones are actively leading the session in order to provoke the audience’s reaction. How can an artist catalyse the reactions of the audience without being the master of the ceremony?