Papers by Issy Chloe Clifton
Exploring the ways through which use of human bodies and tissues in art can expose us to the abje... more Exploring the ways through which use of human bodies and tissues in art can expose us to the abject and the body of the real The body has long been a subject of art, but only reasonably recently in the history of art has the body begun to be seen as instrument and even material. Artists have, for centuries, come ever closer to capturing the fullness of the human form, a pursuit marked by traditions such as the drawing room, and even the continuation of anatomy classes in schools such as the Ruskin. Now being explored in ever more diverse manners, the role of the body, through traditions such as performance art, has pushed beyond subject, becoming a medium and tool. With this new tradition, artists are able to push the limits of representation and experience in new and innovative ways. For some artists, this can mean confronting us with our own vulnerability through use of human tissues in a fragmentation of the body that can frighten and repel us. In the writings of Jacques Lacan, the real refers to the neo-natal state, which is limitless and driven by needs. Lacan notes that sometimes, when forced to acknowledge the corporeal nature of our existence, the real erupts, resulting in traumatic feelings. Similarly, Kristeva defines the abject as "that which disturbs identity;" 1 the abject does not respect borders-it exists in liminal spaces, confusing definitions and disrupting order. The abject causes a breakdown in meaning between two states which we respond to violently and physically in feelings of disgust and often fear. Examining the work of artists such as Margolles, Quinn, and Zurr, this essay will seek to analyse the ways in which use of human tissues can face us with the abject and the body of the real, as defined by philosophers Lacan and Kristeva.
Uploads
Papers by Issy Chloe Clifton