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anthropological critique, the project involves a downright cheerful approach that does not fall into moralism, but opens a debate on the roles which are established through the merging of two beings, and with which the difference between the category of human and the category of pig raises doubts about the content and validity of both categories. The artist occupies the gallery in order to turn it into a bloodless slaughterhouse, where we can observe only the results of the body politics and where no death is visible. He takes us into a scene from a Fassbinder’s film3, in which the narrator says “And her life is much more valuable than mine,” when the butcher cuts the cow’s throat. Although the idea of using human fat for artistic purposes may seem disgusting, what is truly preposterous is not the human material, but rather the human perception of her or his own (genetic) material when compared to other kingdoms of life – this is what can provoke disgust, at least after some reflection. As the artist himself claims: “What is considered sublime by someone seems horrible to someone else”. Cruelty towards animals is not crude, instead, it is an everyday occurrence. In the project’s second stage, which can be said to have the most prototypical character of all and which didn’t directly include fat as a sculpting material, Srdić Janežič cast a temporary sculpture out of ice, one of the most perishable materials one can use, on the basis of a do-it-yourself 3D scanning so that the multiple made of plaster would absorb it, which only added to the effect of blurring the distinction between the artist and 3 This is the slaughterhouse scene in the Rainer Werner Fassbinder’s film “In einem Jahr mit 13 Monden”, 1978, (18:50 min), Elvira: “And her life is much more valuable than mine.”

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the anonymous pig. By reproducing six multiples of a dismembered body (abdomen) in wax, he also announced the realization of the conceived image, because, just as an individual’s identity is actualised through events4, the body is a corpus of images that extends from one body to another. With a multiplication of the body, the artist questions the notion of individuality, which is not something uniform that can be depicted in the visual representation of corporeality – individuality is in fact always disembodied and inconsistent. Beheaded bodies and dissected heads are a sublimate of individuality, which is brought to completion with animality or humanity, impulsivity or prudence. A similar fusion can be noticed in rosettes with the artist’s head, or in two video projections in which the head screams its animal »yawp«�. The process of making a minimised piglet with the program Maya, which is used for preparing a do-it-yourself home scanning of 3D objects, also led to the creation of two animated video pieces featuring a virtual pig which sublimates the artist’s animal nature, as it silently utters a “yawp” – stuck between the body and the incorporeal sound, beyond the realms of the verbal, semantic or comprehensible. Both in the case of the sculpture of a human artist with a pig head made of pig fat, as well as the sculpture of a pig with the human artist’s head made of the human artist’s fat, we confront the absurd in the same way; however, neither the first nor the second can be wholly grasped as acephalic (headless), but must be seen as comple(men)ted in a discordant manner. In contrast to many body art gestures, with 4 Comp. Alain Baidou: “The Event in Deleuze”, in Parrhesia, No 2, 2007, pp. 37-44. 91

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Corpus indeterminata  

Opus Corpus indeterminata by artist Zoran Srdić Janežič

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