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. 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. In Sade for Sade's Sake, Chan suggests that Sade is caught in a transmedial loop. Sade's writings are channeled into different types of visual media that try to convey the nature of his worldview and to capture its essence. In the end, however, images make way for a new kind of Sadean language that is based on the original texts but that also tends toward abstraction and the endless repetition of the same patterns.
Olivier Delers is Associate Professor of French at the University of Richmond. He is the author of The Other Rise of the Novel in Eighteenth-Century Fiction (University of Delaware Press, 2015). He has published several essays on visual representations of Sade and his writings in the twentieth and twenty-first centuries, most recently “Adapter Sade en bande dessinée: de l'intermédial au transmédial” (in Transmédialité, Bande dessinée & Adaptation, ed. Évelyne Deprêtre and German A. Duarte, 2019) and “Whimsical Pornography: Albert Dubout's Illustrations for Sade's Justine” (in New Perspectives on the Eighteenth Century, 13 (1), 2016). Email: email@example.com