Outsiderzy współczesnej kultury

Body art

Definicje

SZTUKA TRADYCYJNA

• ciało jako narzędzie uprawiania sztuki (teatr, balet, pantomima)

• ciało przedstawiane

BODY ART

• człowiek jako integralna całość psychofizyczna

• ciało przedstawione

• ból i abjekt (Julia Kristeva) jako narzędzia

Gina Pane

– 600 gramów zepsutego mięsa – Nourriture (1971),

– cięcie brzytwą po wargach i płukanie gardła krwią i mlekiem – Sang/lait chaud (1972),

– bez asekuracji, uczepiona okna budynku teatru na wysokości drugiego piętra – Je (1972)

Tatuaż

Kolczykowanie

Implanty

Skaryfikacja/Branding

Gunther von Hagens „Körperwelten" – „Body worlds”

Plastynacja– obiektu plastynacji do zimnego

acetonu, odwodniony i odtłuszczony; wodę i tłuszcz w komórkach zastępuje aceton;

– preparat zostaje zakonserwowany w specjalnym płynie;

– aceton usuwa się z preparatu poprzez zastosowanie podciśnienia;

– wykorzystując powstałą różnicę ciśnień, do preparatu (w miejsce acetonu) wprowadza się roztwór odpowiedniego, utwardzalnego tworzywa sztucznego (np. kauczuk silikonowy, żywica epoksydowa). Proces postępuje wolno dlatego struktury tkanek zastają zachowane; tworzywo dociera do każdej komórki;

– obróbka - cięcie, czyszczenie i kształtowanie poszczególnych elementów preparatu;

Akcjoniści wiedeńscy

– Günter Brus – Otto Mühl – Hermann Nitsch – Rudolf Schwarzkogler

– ciało jako powierzchnia i miejsce uprawiania sztuki

Hermann Nitsch

• Orgien Mysterien Theater

• "I also believe that, with regard to both the tragic aspect of suffering and instants of extreme ecstasy and affirmation of life, art needs to have a sense of sacred solemnity. [...] We propagated a very aggressive type of art, not a cozy art but an art that displayed tremendous power and intensity."

Akcje – „6-Tage-Spiel”

Stelarc"Bodies are both Zombies and Cyborgs. We have never had a mind of own and we often perform involuntarily- conditioned and extremely prompted. Ever since we evolved as hominids and developed bipedal locomotion, two limbs became manipulators and we constructed artifacts, instruments and machines. In other words we have always been coupled with technology. We have always been prothetic bodies. We fear the involuntary and we are becoming increasingly automated and extended. But we fear what we have always been and what we have already become - Zombies and Cyborgs."

Suspension - zawieszenie

• „City Suspension” (Royal Theatre, Kopenhaga, 28.06.1985)

• 4 razy o 180 stopni przez 24 minuty

• 56 metrów nad ulicą

Rzeźba żołądkowa

Trzecie ucho

Orlan

Self-hybridation

„Documentary Study: The Head of Medusa”

• Musee S. Ludwig, Aix la Chapelle

• Freud o głowie Meduzy: „Na widok sromu ucieka nawet diabeł”.

Barokowe Madonny

„Reinkarnacja Saint Orlan” (1990-1993)

• dziewięć operacji plastycznych

• Centre Georges Pompidou, Paris & the Sandra Gehring Gallery, Nowy Jork

• Operacja No. 6 – „relikwie”

Carnal Art Definition: Carnal Art is a self-portrait in the classical sense, yet realised through the technology of its time. Lying between disfiguration and figuration, it is an inscription in flesh, as our age now makes possible. No longer seen as the ideal it once represented, the body has become an 'modified ready-made'. Distinction: Unlike 'Body Art', from which I set it apart, Carnal Art does not desire pain as a means of redemption, or to attain purification. Carnal Art does not wish to achieve a final 'plastic' result, but rather seeks to modify the body, and engage in public debate. Atheism: Clearly Carnal Art does not inherit anything from the Christian tradition, against which it fights! Carnal Art points to religion's denial of the 'pleasures of the body', and puts the naked body in the spaces opened up through scientific discovery. Carnal Art does not inherit anything from hagiography through decapitations and other martyrs, it adds more than it takes away. Augmenting their powers instead of reducing them, Carnal Art is not self-mutilation.

Carnal Art transforms the body into language, reversing the Christian principle of 'the word made flesh', the flesh is made word. Only the voice of Orlan remains unchanged. Carnal Art judges the famous 'you give birth in pain' as anachronistic nonsense. Like Artaud, Carnal Art ceases to deal with the 'judgement of God'. Henceforth we have epidurals, local anesthetics and multiple analgesics; long live morphine! Pain is defeated! Perception: I can observe my own body cut open, without suffering!... I see myself all the way down to my entrails; a new mirror stage. "I can see to the heart of my lover; his splendid design has nothing to do with sickly sentimentalities"- Darling, I love your spleen; I love your liver; I adore your pancreas, and the line of your femur excites me.

Freedom: Carnal Art affirms the independence of the artist, in the sense that it fights against a prioris and diktats; that is why it is engages society and the media (where it is seen as scandalous because it goes against received ideas) and will go as far as the judicial system. A Clarification: Carnal Art is not against cosmetic surgery but, rather against the conventions carried by it and their subsequent inscription, within female flesh in particular, but also male. Carnal Art is feminist, that is necessary. It is interested not only in cosmetic surgery, but also advanced techniques in medicine and biology that question the status of the body and the ethical questions posed by them. Style: Carnal Art loves the baroque and parody; the grotesque, and other such styles that have been left behind, because Carnal Art opposes the social pressures that are exerted upon both the human body and the corpus of art. Carnal Art is anti-formalist and anti-conformist. ORLAN