Chapter II: The Body
Daniele Buetti's writing underneath the skin can only be imagined as a very painful process. The images inscribed as scars represent corporate identities. They can be portraits of consumers scared for life. Names and numbers, whom have you got under your skin? As bodies have become canvases for any kind of obsolete information, these images look perfectly plausible. Human skin has been littered with trivial tattoos. It is dressed according to a fashion that mistakes logos and brand names as mere pattern, turning everyone into unpaid sandwich men and women. Natacha Lesueur also shows a pattern of impressive character. Choosing pieces of clothing which are `gifted¥ so as to make a deep and lasting impression, Natacha Lesueur practices Medea's Creusa dressing as a self-experiment. The results are highly decorative imprints, patterns skin deep like a tattoo in relief, a temporary mutilation of the physique. A more lasting impact is documented by Annie Sprinkle's photographs: a man in dark trousers, a checkered tie and a white shirt, which in the second photo he is pulling up. His nipples are pierced beyond belief, stretched, pulled by weights and cast against a cascade of chains. The result of so much metal affixed onto two single body parts are nipples pulled to a rare scale. The two photos illustrate the coexistence of different social spheres which can pass unnoticed or may be revealed. What you see is not what someone else might get out of it. Like a Dutch windmill turning in the wind. The camera zooms in onto the mill's blades until Erik Wesselo comes into focus strapped to a blade spinning right round like a record... This Don Quixote in bondage giving in to the windmill and going for a ride turns the pastoral sight of the postcard image into a risky play of physical challenge. A late reply to body art but very Dutch and to this consequence very humorous. To the effect of dramatic humor, Dinos & Jake Chapman present a figure made up of doll-like creatures resembling two kids. A Piggyback, the figures enjoy a quasi prosthetic Siamese relationship, merging into one another becoming one. The standing kid appears sexless and has the other's legs for arms, the mouth open sticking out a cock for a tongue. Or, the standing kid is penetrated by the sitting one, through the nape of the neck and right through the mouth. Needless to say that here this sex organ speaking with someone else's tongue has most appropriately been documented in a church. Like more wigs, Edward Lipski created an amorphous accumulation of such hairy objects, all a put, suggestive of a conglomeration of heads all attached so to expose their backs. This multiheaded form then tapers into a light-colored, hair-free base that in reference to the hair is suggestive of a neck. Its rounded shape however much, rather resembles the stem of a mushroom. On one side the hair parts and gives room to a nose, lips and a chin. This facial insert allows to identify a giant mannequin's head, apparently displaying a severe medical problem. Ingrown heads seem to be the scary dermatological findings for this alien creation. Talking about aliens, Bill Scanga, claims to demonstrate "physical affinities" between "Extraterritorial Biological Entities" and cats as well as "similarities in their relationship to human beings"v. The synthetic images of aliens created to resemble human features serve as a go between the cat and the human, a suggestion for an act of unexpected recognition. The cat as a creature from outer space, undercover as a worldly animals, seeking close human company. Your cat is watching you, and then all of a sudden, one day...