Sep 9, 2007

Disgust vs. Lust

And now I would like to present essayist, architect, artist, sportsman and now also guest blogger - Tine Bernstorff Aagaard - who've written this delightfully vulgar text as part of the Food Workshop on easa007 in Elefsina, Greece. All text and images by her.


Disgust vs. Lust

A flaneurs sensitive stroll through a meat market. The fascination of organs and limbs; cold, lifeless as well as warm and pulsing in the mediterranean evening sun. The fascination as the duality between attraction and disgust. The colors and shapes of the exhibited organic structures in an ocean of variety teasing the eye of the perceiver and forces the willing body to continue along the meatpacked arcade; moving even deeper into the all embracing atmosphere. The harsh smell of blood lingers all around.
Meat color. The weight of exposed, overwhelmingly naked body parts as one would never relate to living creatures. A somehow structured mess that does not catch the viewers eye. The Sound of butchers hammers smashing bones and bits of bodies into more bits of bodies and more meat atoms are released.
Heavy laughs and tricksy sale speaches hits bypassers without a living chance of avoiding. Coming on to one as one comes on to the flesh. One cant escape; not even ones own desire to stay.


Caught between oneself sensing the body parts as the butchers sensing one. One becomes an object. The foreigner is exposed while sketching. The breathing on ones neck. Eyes on the paper. On one. The lust of investigating every little shape, deformation of the body parts. Like stroking the slightly sticky skin gently with the palm of ones hand - with the line of the pen against the pure paper. The disgusting feeling of exposing ones desires in this ruthless environment.


In the middle of this a box appears. The content is a massive structure of snails. Moving all on top of each other. Looking like the hanging stomachs would, if they were still functioning. The structure lets some snails depart to escape. The sound of the shells hitting the tiled, wet, floor as they tip over the edge, is somehow similar to the should of the hammers smashing into the flesh and bones. The slow page of their movements seems so fast due to the fixed time of the massive 'stilleben' one is situated in. The roughness of slaughter an animal makes the process of growing of snails, seem more like the act of growing vegetables and fruits. Despite the little creatures slim chance of surviving, these escapists shows a way out. Or at least a will to get out. To escape.


One leaves with a bag full of living snails. 3,5 euro for approximately the make body count as class in primary school. One makes a habitat of lettuce and a white plastic bowl to make them survive more than the two days because of the heat one were told. One gives them names and have them - not just participating in a dinner party, but even controlling the whole autonomy of the evening. Keeping them alive for how long? This situation is even more artificial than the situation in the box in the meat market.

A dilemma again. Playing it passive perhaps. Time might choose and leave one as an observer. They might by now have lost their sliminess and will to live. Their possibility to escape was part of the game. But most are still there. With the names of the peoples one know. They were all most still last time one observed the situation. Excrements were lying all over. Like the snails might be doing now. Dry and dead.

1 comment:

hajra said...

I don't know what's more brilliant - the art, the story, or the combination!
It's really a great piece!