blog_ 7x7
12
SET
Javiera Peón-Veiga x Sheila Ribeiro = Usthr@@
| by SHEILA RIBEIRO on NOSOTRES by Javiera Peón-Veiga | ||||
| I | ||||
| I am synthetic skin, I am synthetic skin, | I am synthetic skin | |||
| I don’t want to talk about bin@ry things, I don’t want to talk about bin@ry things | I quote them | |||
| I don’t want dualism | I reproduce it | |||
| I reinforce biology | I don’t want to talk about it | |||
| an environment imposes what I must do | and I do (the same) – to point at it? | |||
| we are three | we are the same I am three | |||
| 3 = | 1 | |||
| three as all and | no one | |||
| I have action and function | I have action and function, I have action and function | |||
| I am a floor of soft skin | they are on top of me | |||
| they step on me, throw themselves over | me | |||
| Synthetic skin: the fabric is a kind of skin. Is it a kind of skin? The beige fabric of the body and of the floor of the same skin… a mess of skin-design. | ||||
| synthetic | impervious, armoured | |||
| 2nd life | sex | |||
| Manequins in bermudas, bras, swim suits on supposed hips, waists and biceps: with similar seams and traces, but not identical. | ||||
| I scrub, scrub, scratch | one, one, one | |||
| I open, I close | clasp | |||
| I split, I retract | seal | |||
| pussy | be@ver, h@ir pie | |||
| I point, I protect, | last | |||
| biologic@l skin, etologic@l skin | ontologic@l skin | |||
| se@led skin | ||||
| pulsing | pulsing, pulsing | |||
| TS synthetic tri@d | tension sexual tension | |||
| equation: I don’t want to be 2; trying to be 3 | turn into 1 | |||
| I take off the mask | and then? | |||
| II | ||||
| When I watched this dance work, I found a secret I had searched for: a metallic clitoris – a shinny piercing ring full of powers. | ||||
| III | ||||
| On 09/11/2011, I wrote: | ||||
| “La piel que habito” is a film by Almodovar. | ||||
| Skin is a female word in Spanish, but in this film | ||||
| the skin is a deep zone, genderless and, especially, trans | ||||
| (in everything that transformation and the crossing may be possible | ||||
| and this through the | ||||
| the deep surfaces). | ||||
| Culture and desire beat biology. | ||||
| The skin here brings on everything that is human. | ||||
| The human that is in digital communication. | ||||
| Biopolitics is the excuse and the text | ||||
| (as in the dangerous christian film by Malick , “The Tree of Life” and as in the unbearable “Melancholia “, by the even more unbearable Lars Von Trier) . | ||||
| I thought with myself that these three directors were part of the: “Miss biopolitics 2011.” | ||||
| Almodóvar plays with desire, madness, transformation. | ||||
| Construction of desire, construction of madness, construction of transformation: digital biopolics. | ||||
| He talks about transexuality (yes, “the movida” ) and about “madness” behind the back because he treats EVERYONE as trans. Transomething. | ||||
| There is no object neither creature anymore. Nor knowledge, nor impulses. It’s another banal thing of rationality. Of a “father power”. | ||||
| We don’t know who the father is anymore. If he is machine, woman, trans, movida, typical, atypical, mad, a phoney … | ||||
| This film is way beyond “machine and human”, “object / non object”, “false /true”, “insane/sane” | ||||
| In things that are more than hybrid, he proposes a review of “reality”. It’s beyond fusion … After all, trans. | ||||
| He pays tribute to the artist Louise Bourgeois and quotes A BONECA (THE DOLL) | ||||
| key thing to understand the contemporary fetiche. | ||||
| To build YOUR OWN skin, | ||||
| the skin “of another”, | ||||
| skins of others. | ||||
| These skins can’t be seen as “natural” or “artificial” anymore. | ||||
| see the complete text of 09/11/2011, in French | ||||
| http://www.qartlog.com/?p=3374 | ||||
| Sheila Ribeiro = sheilaribeiro.net | ||||
| Translation Portuguese-English: writer and poet Chris Ritchie, M.A. | ||||