In Sade for Sade's Sake, Chan suggests that Sade is caught in a transmedial loop. ![]() In his video installation, Chan imagines a new kind of sexual tableau that seeks to “show it all,” but also turns the larger political statement that his project set out to make into an abstract exploration of forms. ![]() This article focuses on Paul Chan's 2007 art project Sade for Sade's Sake, which brings together a five-hour-long video installation, a number of drawings and collages, and a series of fonts inspired by the Marquis de Sade's writings called “alternumerics.” I argue that Chan is engaged in a transmedial process that is intensely visual and performative and that actualizes Sade's aesthetics by reconfiguring the textual logorrhea central to his writing style.
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