ABSTRACT Towards the end of his life, Bataille became increasingly fascinated by prehistoric culture. His analysis of the Lascaux cave frames it as the symbolic site of our birth, envisioning in its art the final step to anthropogenesis: we, as a species, became human once we began smearing pigment on cave walls. Bataille’s account of this dual birth of art and humanity is neither an ode to our rational mind nor to our capacity for aesthetic contemplation. Rather, the murals adorning the cave would be the result of primordial ecstatic experiences. For Bataille, art ties in with excess: an activity devoid of use-value rising above necessity or instinct. Lascaux becomes the scene of a primordial crime against utility. Bataille’s cave stands as a counterargument to the enlightenment’s fixation on progress and productivity. The decades since, have seen our obsession with productivity grow even more pervasive. This paper explores the constellation of excessive behaviours which Bataille presents as key to the birth of art and, through an autoethnographic study, asks whether, and how, this ‘spectrum of excess’ is still relevant to artists today.
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