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committed to the passage from the separation ritual into the liminal stage of becoming, which is conditioned also by the experience of pain, and finally into the postliminal stage and reintegration. Srdić Janežič »uses« natural science experts in keeping with the multidisciplinary trends. The surgeon thus does not work only in the function of health or beauty, but also in the function of art. In this process, a significant role is played by the various intermediaries who helped the artist obtain the sculpting material. First, there was an anonymous butcheress who slaughtered the pig and prepared its fat; second, the artist received the assistance of the programmer Jan Sterniša and the team from the MKC Maribor Youth Culture Centre - Kulturni inkubator, who are skilled in do it youself 3D scanning and printing and the 3D data processing with the program Maya (they provided a module for the final transfer of scale from the pig to the human scale); third, in the last stage of the project, a plastic surgeon will suck out and supply human fat so that the artist will finally be able to make himself equal to the pig as well as to other animal species. How should I then translate the idea of an experimental art act from the field of art into the field of medical science? The artist, who conceived the project to a large extent for ethical reasons, cannot possibly not touch upon the codes of ethics that were formulated by the international community in the second half of the 20th century, after the science and medicine had already become deeply implicated in the mass killings of the age of eugenics. In her brief overview of body art practices, Jane Goodall speculated that »perhaps the culture of scientific experiment

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is intrinsically untrustworthy and needs the constant accompaniment of ethics in order to advance without tipping over into pathological tendencies.«12 Ethical examination is not primarily the domain of art, although, historically speaking, art treated personal responsibility much better than medicine, for example. From the standpoint of art, I have no doubts that the artist will handle his genetic material extremely cautiously, in the same manner as he in general, as a sculptor and puppet-maker, handles rare woods and metals. But you will have to give me the benefit of the doubt. Some artists whose work offers important aspects of interpreting the project Corpus indeterminata both from the perspective of the history of contemporary art (providing it with context and verification) as well as from the view of content, have been engaged specifically with problems in law and science, in order to reveal some of the morbid elements in our society as disgustingly and shockingly as possible. The contemporary Chinese artist Zhu Yu (朱昱) found a loophole in the law, which did not explicitly prohibit the consumption of human meat, and subsequently decided to eat embryos of aborted babies in his performance Eating People (2000). Not because he would have enjoyed the taste or due to any cannibalistic tendencies, but in order to indicate the value of human life in his homeland.13 In the same year, he used his own body as a canvas. He stitched a patch of his body to a fourth of a dead pig. As I have already mentioned in the beginning, in relation to the nutritional value of fat, the Chinese tradition also regards the pig as a creature that 12 Jane Goodall: “Whose Body? Ethics and Experiment in Art”, in Artlink Vol. 17 No. 2, 1997, pp. 8-15 13 Silvia Fok: Life and Death: Art and the Body in Contemporary China, Bristol and Chicago: Intellect, 2013

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Corpus indeterminata  

Opus Corpus indeterminata by artist Zoran Srdić Janežič