This article investigates the paradox of disappearance as both an aesthetic and a political phenomenon. Taking inspiration from Radiohead’s song “How to Disappear Completely,” it argues that aesthetic representations of disappearance never achieve total erasure; instead, they give rise to new forms of visibility. A true aesthetics of disappearance does not exist. Through case studies such as H.G. Wells’s The Invisible Man and Guy Debord’s Society of the Spectacle, the article demonstrates that disappearance is always mediated: the invisible man becomes hyper-visible through his clothing, bandages, and mask, while the spectacle conceals marginalized lives only to expose them through mechanisms of institutional control (e.g., prisons, medical facilities, schools—as analyzed in Michel Foucault’s work). An investigation of the “novel of the institution” (Campe), especially as it appears in the works of Franz Kafka and Robert Walser, eventually explores the nexus between aesthetic representation and institutionalized forms of coerced visibility. Ultimately, the essay argues that disappearance, as an aesthetic and political event, destabilizes regimes of visibility—not by erasure alone, but by exposing the fragility of appearance itself. The tension between opacity and exposure suggests that resistance lies not in pure absence but in subverting the very mechanisms of representation.
Dominik Zechner (Mon,) studied this question.