Re: Foul Perfection
Mike Kelley('s work) is not the point. The fact that Diederichsen finds (albeit inadvertently) in Kelley a reiteration of the role of the spoil-sport vis-à-vis the magic circle of play adds credence to the role of the spoil-sport in that the spoil-sport's work and the magic circles' work together form a more true rendition of actual history. The work of the magic circle alone does not provide a full and/or true view of history. Ever faithful to its (own) game, the magic circle only delivers the magic circles' view of history, and the spoil-sports who do not play by the magic circles' rules deliver the rest of the view. Hence, the contradictory material, i.e., art of the spoil-sport that history pretends didn't happen, is the point.
It seems safe to label Kelley as an artist that began more as a spoil-sport, but I wouldn't label him as a spoil-sport that "sometimes happens...[to]...make a new community with rules of its own."
Granted, I'll be more attentive to Kelley's work, particularly with regard to its spoil-sport aspects or not, but I'm much more interested in spoil-sport artists truly outside the magic circle who indeed do make a new community.
My favorite story about Susan Sontag was told by herself (I think in 1980s New Yorker article) where she recalls 'camping' outside Thomas Mann's house in Pacific Palisades in hope of meeting the author. She was ultimately invited in. Thomas Mann is my favorite author as well.