In medieval Europe, the Sovereign’s body was considered to be double: the limited apparatus of the natural body, and a larger state of abstraction of the body politic.1 Together they formed the geo-cosmic “whole” of sovereign territorial governance, unifying a corpus of subjects and providing a temporal stabilizer. Mortality and exhaustion could be associated with the ruler as a human protagonist, while the more-than-human power matrices of rulership could be implanted in the mystic morphology of the kingdom or commonwealth as a higher ground. This prevailing notion of the two bodies permitted the continuity of monarchy even upon the death of the monarch, best expressed by the formulation “The King is dead, long live the King.”2
However, the deception at the heart of this circuit causes a third body to arise from the organically immunized perpetuity of the double ruler.3 And this third body does not inhabit either of these theological conceptions derived from the Christian corpus naturale and corpus mysticum. We can call this third morphology “corruption.”
Corruption literally and symbolically splices through the indivisibility of the two bodies as a corporeal passage that undermines the singular thrust of their governing power. Casting a shadow reality over the surface of society and then dynamically percolating deeper, the parasitic quest of Trojan horses, double agents, fly-by-night operators, shady middlemen with multiple cell phones, and match-fixers creates a relation with a business-friendly face before lurking into the “back office” to disclose their objectives.
The missing tape, the back office, the black market, counterfeit currency, that lazy bureaucrat, the anonymous file, the phone tap or leaked SMS, forged paintings and defective pixels, the creepy smile of a tycoon, and the politician’s tongue repeatedly breach the social contract through perverse pleasure fantasies and subterranean nightmares.
It is believed that the heart of the traitor is the coldest heart of all. The ninth circle of Dante’s Circles of Hell is represented by a frozen underworld lake called Cocytus—a sort of Death Valley full of whirlpools and oozing lament.4 Here, various classes of traitors coexist—having betrayed kindred, country, guest, and benefactor.5 Living through an Age of Extremes, this cosmology of cold suffering intersects with the climactic acceleration of the Anthropocene, registering human impact on the earth’s atmospheric conditions. As part of the “dismal hole” of punishment in the deepest zone of hell, there is the ultimate fear of being openly identified as the accused.6 However, for retribution there must be a general consensus on what an uncorrupted polity would be.
“Evil is unintelligible,” Terry Eagleton writes.7 Corruption, on the other hand, is readable, reproducible, and profitable—often coextensive with the state’s socioeconomic development patterns and performing an illicit union with its daily network of administration.8
Corruption begins where visible labor becomes invisible, and invisible labor becomes visible. It is in this corridor that it “acts out” and reenters the body politic as a sentient character, passing the stench of capital from body to body, as if an uncontainable viral flu.
As critic Jan Verwoert writes in his recent essay “Torn Together”: “Acts of corruption are elaborate disappearing tricks on the stage of common desire. They even out what should cause no ripples. Things go smoothly if what comes to pass happens as if it hadn’t.”9
The day laborer and the cognitariat are equally implicated in this realm and made subservient to the uncanny sweep of the veiled hand of corruption.
Like acid rain, corruption is a lethal blend of the natural and the unnatural, corrosively turning internal mechanisms into parasitic rituals.
In the Machiavellian account of corruption as “a generalized process of moral decay,” it inevitably infects the vital organs of the body politic and poses the looming threat of political instability, while eroding social virtues of the idealized Republic.10
Jean-Luc Godard has declared: “Cinema is the most beautiful fraud in the world.” We often forget that corruption is also cinematic. A scene that perfectly illustrates the revolutionary economy connecting the moving image and deception is the famous breakfast scene in Eisenstein’s Battleship Potemkin, with the opening act entitled “Men and Maggots.” It is 1905, aboard the Potemkin—a vessel of the Imperial Russian Army’s Black Sea Fleet. Matyushenko and Vakulinchuk are the two sailors who begin to deliberate over the need to support workers at the revolutionary frontlines. Meanwhile, the crew sleeps in the lower decks. It is when rotten meat arrives on the scene that the brewing discontent becomes concrete. The presence of worms is an organic signal reflecting the fact that the crew are being regarded as lesser humans aboard the ship’s symmetries of power. The ship doctor Smirnov inspects the liveness of decayed matter as his pince-nez transforms into a magnifying glass, a sort of evil eye evaluating the border between the edible and the inedible.
Instrumental in Potemkin’s creation of propagandist shock reflexes is the close-up, which in Eisenstein is as critically deployed as montage.11 Though properly speaking, for him this composition is not so much a close-up as it is a “magnification”—a large-scale shot to designate qualitative meaning—which in this case unites the individual and the social body in opposition to state authority. After this tipping point, the act of rebellion becomes a contagion as the resounding call of mutiny spreads forth from the sea back onto the land. Eventually, Vakulinchuk’s martyred body acts as a source of raw evidence with the words: “Dead for a spoonful of soup.”
Inversely signified by this historic rebel ship is the anonymous repression in vessels ferrying people across international maritime borders today—sinking amid news headlines, perilous water routes, and the forming of a subhuman sea-state. The ship as Foucauldian heterotopia has transformed into the generic boat of refugees, traffickers, and state agents that is a more complex human geography—an emergent space of death-life where irresolvable desire and frantic rituals of escape, corruption, and apathy assemble together.
In this parallel economy of transit, the will of individuals to exit wrecked sovereign territories is subjugated as contraband implicitly, in the same measure as an item of piracy. There is no real safety zone as the harsh limits of relief and assistance transfigure into nightmares of insufficiency. Within a perplexing mix of aspiration and desperation, that boat comes to be designated as corrupt infrastructure traversing a sinister scenography of global governance.
Might it be possible for the artist as trickster to harvest the productive capacity of corruption’s gestural performance—its speed, scope, double economy, and antisystemic drive?
Some months ago, at a Volkswagen production plant close to Frankfurt, a robot being programmed for assembly processes by a small team ended up acting out malevolently and crushing a twenty-two-year-old worker to death.12 While this apparent “killer robot” erred on account of human imprecision, this episode may be observed metonymically as a reversed loop of machinic evolution. A postindustrial dystopia is activated in choreographies of human–machine dysfunction—performing as live threats in the daily pursuit of zombie capitalism.
While the industrially crafted bodies of the car and the robot share an affinity, the illicit action of the robotic agent reverses the terms of agreement between object and subject, as well as between producer and means of production. Through a dramatic “unmaking” of the mechanized libido of the production unit, this proximity between artificial labor and the laboring human body becomes caught up in scenes of counterattack. Corruption is enacted here at the level of human consciousness—concerning the deeper crises of individuation within a glitched system where new forms of catastrophe await us.
While bodies assemble in states of multiple crises, dispossessed and upon unstable grounds, the shared condition today appears to be that of an entrenched loneliness and systemic corruption. In muddy times of planetary retrograde, we are bound together by separation, by relationship shadows—specters of prior intimacy, and partial fulfillment in the machinic present.13
It is in corrupt affairs that pleasure is resurrected as a collective being and a dissolving-together, no matter the costs involved. If corruption is defined as “a symptom that something has gone wrong in the management of the state,” then it is not simply a matter of identifiable agents risking socioeconomic subversion of the market system.14 According to Alain Badiou, it is in the running of an electoral democracy under the forces of capitalism that foundational corruption is instituted such that it becomes an essential condition.15
In the aftermath of robotic cannibalism and anthropogenic shifts, as new conglomerates of right-wing governance join a general decay of the body politic, corruption operates as both a counter-historical project and a back entry for “unofficial” histories. On the one hand it threatens to lock us into an exclusively delivered image of history, with a promise of emancipation. On the other, historical becoming involves contaminating the flows of major narratives of modernity through a means of editing—introducing characters, diversions and sequences of “eternal recurrence.” Corruption survives as a figure of story-telling, the truth of which remains murky and to be discovered. It will be the last of the undead to die.
This essay was initially developed as part of the lecture-presentation “Corruption: Three Bodies” with Julieta Aranda, featuring e-flux journal, “All the World’s Futures,” 56th Venice Biennale. Special thanks to all contributors to the exhibition “Corruption: Everybody Knows …,” which opened November 10, 2015 at e-flux in New York.
Natasha Ginwala is an independent curator, researcher,
and writer based in Berlin and India.