Abstract
Miss World Peace, the ‘alter ego’ of Melbournian artist Jane Korman, travels to ‘sites of conflict’, inviting dialogue and raising an awareness of prejudices, inviting dialogue and proposing peace. This article considers Miss World Peace as an affective assemblage of people's desires, longings, fantasies and projections, and, as such, as a de- and re-remediation of performance's entangled relationship with the neoliberal dramaturgies of contemporary visual culture. It thinks through the post-performative politics of Korman's images, which offer a doubled glance towards the roles of the visual and the embodied in rupturing the political. That is, they are neither performative nor non-performative, but afformative in how they engage relations between the subjunctive and the material real.
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