level exuberantly »fueled« by fat as a sculpting material, is experienced and lived in our own bodies in a phenomenological sense, in harmony with the media, modes of representation and manifestation of an individual's identity, which all work to extend the body. What happens to the real corporeal body made of fat and blood, when it is transposed into a virtual representation of a human or pig, or when it becomes an avatar? Its virtual mode of existence is no less real or dependent on the body than the idea of the physical body itself. Video, which enables an accurate minituarisation of the body and which is one of the visual derivatives of transferring the physical body back into the virtual realm by using 3D scanning, is no less bound to the body as the physical cast of a body in space. Srdić Janežič believes it essential to not produce an approximation of the body, but to make a multiple, without any authorial “creative” invasions, since every particular thing is significant just the way it is. A head is, for example, one and only and itself, though it can be classified into the category of heads. With the multiplication of bodies, Srdić Janežič demonstrates that we misunderstand the body as the universal body, not only at the level of language, but also in material terms. By multiplying the same cast, the artist points out the opposite: the definitive singularity. His work turns the question of originality and uniqueness thrice around its own axis. If the media serve as the extension of our senses (Marshal McLuhan), what is then Srdić's medium? An extension of the virtual body?
Opus Corpus indeterminata by artist Zoran Srdić Janežič