Flesh masks
Morel, Geneviève
Flesh masks - 2021.
72
In Abnormal, Foucault defines the monster as he or she who violates the natural laws by transgressing all classifications. The transformation of the “human monster” into a less obvious object, to wit, the abnormal, is the prelude to the emergence, in the nineteenth century, of a number of technical disciplines meant to deal with abnormality, among them neuropathology and psychoanalysis. In Hubris, la fabrique du monstre dans l’art moderne, art historian Jean Clair sharply criticizes Foucault’s theory. According to Clair, the persistence or even the resurgence of the monster haunts contemporary art. During an analysis, one may feel monstrous without having the slightest visible deformity, except in one’s own eyes. I address this issue through a film and various books, analyzing first those who complain about being monstrous and seek a remedy through physical operations, and second those who flaunt this supposed monstrosity as an avant-garde flag.
Flesh masks - 2021.
72
In Abnormal, Foucault defines the monster as he or she who violates the natural laws by transgressing all classifications. The transformation of the “human monster” into a less obvious object, to wit, the abnormal, is the prelude to the emergence, in the nineteenth century, of a number of technical disciplines meant to deal with abnormality, among them neuropathology and psychoanalysis. In Hubris, la fabrique du monstre dans l’art moderne, art historian Jean Clair sharply criticizes Foucault’s theory. According to Clair, the persistence or even the resurgence of the monster haunts contemporary art. During an analysis, one may feel monstrous without having the slightest visible deformity, except in one’s own eyes. I address this issue through a film and various books, analyzing first those who complain about being monstrous and seek a remedy through physical operations, and second those who flaunt this supposed monstrosity as an avant-garde flag.
Réseaux sociaux