Meet Animal Meat - Antennae The Journal of Nature in Visual Culture

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Turner, Bryan S. The Body and Society: Explorations in Social Theory. Oxford: Basil Blackwell, 1984. Weber, Sam. Lectures on The Uncanny, European Graduate Studies Program, June, 2008. Ulfers, Fred. Lectures on Nietzsche, European Graduate Studies Program, June, 2008. Zizek, Slajov. Welcome to the Desert of the Real: Five Essays on September 11 and Other Related Dates. London: Verson, 2002. Zizek, S. Lectures at NYU in Avital Ronell's Antigone and Hegel class, October, 2009. Cara Judea Alhadeff, born in Boulder, Colorado, has had numerous solo and group exhibitions in the US, Europe, and Asia; receiving awards in surrealist, erotic photography and interdisciplinary art. Her writing and photographs have been published in European art journals and television programs. She recently exhibited her large-format color photographs at the San Francisco Museum of Modern Art and continues to be part of their permanent collection. Cara Judea's work has been exhibited and reviewed with Cindy Sherman, Joel-Peter Witkin, Sally Mann, Alfredo Jarr, John Coplans, and Dieter Appelt. Because her images have been subject to censorship on both US coasts, Freedom of Speech organizations such as artsave/People for the American Way have publicly defended her photographs. Currently, she is exhibiting in galleries, museums, and international art fairs in Germany, Portugal, Zurich and Belgium. 40
S imone Racheli has developed an international reputation over the creation of fascinatingly disturbing objects combining the tradition of the Duchampian ready-made with that of scientific of anatomical models. The artist, Florence born, trained primarily as a sculptor at Florence’s Fine Arts Academy. In this interview Racheli discusses his ‘meat-objects, the signification of meat in his own work and why he has been busy creating motorbikes and irons that resemble anatomical human-animal models. Pieces such as Telaio Bicicletta, Ferro da Stiro, and Frullino, (Bicycle Frame, Iron and Spindle Mixer) are just three examples presenting a shift towards the “ hyperreal.” What prompted this shift? I started to look for a way that would enable me to represent reality with its contradictions and monstrosity, as today’s reality does not coincide with itself anymore. I became more interested in highlighting a “un-identity” of man with man and of things with things. It is in the crevices between these disjointed entities that my works function. Therefore these works may seem as unlikely objects but simultaneously are part of reality. I also tried to understand more closely how things are inside, from an intimate perspective and I have used a suitable vision for this purpose, that of anatomy. I have fused the techniques and THE BIOMECHANICS OF OBJECTS Simone Racheli’s work is challenging and visionary. Through the simulation of biomechanical objects the artist questions our relationship with the world around us, and the psychological and philosophical ties we become entangled with. Here he discusses his work in an exclusive interview with Zoe Peled. Questions by Zoe Peled Translation by Giovanni Aloi 41 materials of anatomical description with the “reevolutionary slants” of today’s biotechnology reinvention of the idea of the body and I have aimed at representing its unsettling resultants. An iron, a mixer. a bicycle, a chair. Why did you choose to construct inanimate objects, and why did you select these specific ones? My work does not intentionally comment on household realities per se. However, domestic objects are transformed from contingent bodies to abstracted entities. I privilege the use of this group of objects as it suggests a closer relational introspection of the viewers own social reality. The objects I transfigure are those with which we share our everyday life. Our society is “patho-plastic” as it self-forms its pathologies and likewise, objects are manipulated matter, adapted by man. Through this manipulation, it is only to be expected that objects may reflect pathological elements of society. At first glance, my objects may appear as impossible anatomical sections of bodies that cannot function but a second look will reveal them as familiar ones. In front of these bodies suspended between the anatomical model and the electrical appliance, the viewer is brought to reflect on their identity and diversity.
Page 1 and 2: Antennae Issue 15 - Winter 2010 ISS
Page 3 and 4: EDITORIAL ANTENNAE ISSUE 15 I In 20
Page 5 and 6: CONTENTS ANTENNAE ISSUE 15 6 Mammal
Page 7 and 8: Bastien Desfriches Doria Stephanie,
Page 9 and 10: Bastien Desfriches Doria Eric, Mamm
Page 11 and 12: Bastien Desfriches Doria George, Ma
Page 13 and 14: means I have to go unto the heart o
Page 15 and 16: constitutionally unable to embrace
Page 17 and 18: I ntroduction: Ceramic Containers,
Page 19 and 20: with clay becomes a ‘naturalized
Page 21 and 22: Patz Fowle The Revenge of Other Whi
Page 23 and 24: Hirotsune Tashima Family Dining, 20
Page 25 and 26: Bonnie Seeman Untitled, Gravy Boat,
Page 27 and 28: 27 MEAT: FLESH-POTS DIGESTING AND T
Page 29 and 30: Cara Judea Alhadeff Mirrormappings
Page 31 and 32: The eye is a wound which suggests i
Page 33 and 34: Cara Judea Alhadeff Mirrormappings
Page 35 and 36: Cara Judea Alhadeff Cara Mirrormapp
Page 37 and 38: energy and sensual and political po
Page 39: [7] “Shiva is the link between li
Page 43 and 44: Simone Racheli Asciugacapelli, (Blo
Page 45 and 46: Simone Racheli Telaio di Bicicletta
Page 47 and 48: Progressive”. The central inquiry
Page 49 and 50: Gunter von Hagens Blood Vessel Conf
Page 51 and 52: about reality, occasionally led to
Page 53 and 54: Gunter von Hagens The Bear © Gunth
Page 55 and 56: Gunter von Hagens The Giraffe © Gu
Page 57 and 58: Gunter von Hagens The Ostrich © Gu
Page 59 and 60: Edenic world. Such claims about the
Page 61 and 62: mankind, in the garden of Eden." [x
Page 63 and 64: Damien Hirst 63 Some Comfort Gained
Page 65 and 66: active in specific materials. The l
Page 67 and 68: Damien Hirst The Impossibility of D
Page 69 and 70: uncovered and deprived of their env
Page 71 and 72: http://www.mummytombs.com/mummyloca

Meet Animal Meat - Antennae The Journal of Nature in Visual Culture

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