In this article, I analyse some of the ways in which Gavin Krastin’s On Seeing Red and Other Fantasies (2015) engages with outrage and protest in a self-reflexive way. The idea of art as means to question and institute change in society, is contentious and my discussion here focuses on how forms of resistance, are easily subsumed within a capitalist context. On Seeing Red comments on the failure or the limits of ‘fantasy’ as a means of resistance and yet uses the make-believe platform of performance to express a critique of capitalist inertia and escapism. Krastin frames anger by turning his attention to form, investigating his own medium, that of performance art/live art. Specifically, the failure or limits of performance as a means to protest social, political and artistic concerns. The analysis is centred around two points of interest: firstly, how the work can be analysed in relation to the notions of deterritorialization and reterritorialization as theorized by Gilles Deleuze and Felix Guattari (1987). The article then veers on to engage with the idea of the ‘actant’ via Susan Bennet (2010) as a way of exploring how the affective presence of inanimate performers (objects) in the work reveal a co-dependency between the human and the non-human. More specifically, how the use of props in the performance reveals the vulnerability of the performing body. The paper concludes with the idea that precarity offers the possibility of a mode of resistance through performance.

中文翻译：

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“这里没有什么可坚持的”：加文·克拉斯汀 (Gavin Krastin) 的《看见红色和其他幻想》（2015）中的共谋和脆弱

在本文中，我分析了 Gavin Krastin 的 On Seeing Red and Other Fantasies (2015) 以自我反省的方式引发愤怒和抗议的一些方式。将艺术作为质疑和推动社会变革的手段的想法是有争议的，我在这里的讨论重点是抵抗的形式如何容易地归入资本主义背景。On Seeing Red 评论了“幻想”作为一种抵抗手段的失败或局限性，并使用虚构的表演平台来表达对资本主义惰性和逃避现实的批判。克拉斯汀通过将注意力转向形式，研究他自己的媒介，即行为艺术/现场艺术来构建愤怒。具体而言，作为抗议社会、政治和艺术关注的手段的表演的失败或限制。分析以两个兴趣点为中心：首先，如何根据 Gilles Deleuze 和 Felix Guattari (1987) 所提出的理论去领土化和再领土化的概念来分析这项工作。然后，文章转向通过 Susan Bennet (2010) 探讨“行动者”的概念，以此探索作品中无生命的表演者（物体）的情感存在如何揭示人类与非生物之间的相互依存关系。 -人类。更具体地说，表演中道具的使用如何揭示表演者身体的脆弱性。该论文的结论是，不稳定提供了一种通过表现抵抗模式的可能性。然后，文章转向通过 Susan Bennet (2010) 探讨“行动者”的概念，以此探索作品中无生命的表演者（物体）的情感存在如何揭示人类与非生物之间的相互依存关系。 -人类。更具体地说，表演中道具的使用如何揭示表演者身体的脆弱性。该论文的结论是，不稳定提供了一种通过性能抵抗模式的可能性。然后，文章转向通过 Susan Bennet (2010) 探讨“行动者”的概念，以此探索作品中无生命的表演者（物体）的情感存在如何揭示人类与非生物之间的相互依存关系。 -人类。更具体地说，表演中道具的使用如何揭示表演者身体的脆弱性。该论文的结论是，不稳定提供了一种通过性能抵抗模式的可能性。