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

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

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Simone Racheli<br />

Telaio di Bicicletta, (Bicycle Frame) 2006 iron, papier mache, wax. cm116x41x78h. Courtesy <strong>of</strong> PaoloMaria Deanesi Gallery © Simone Racheli<br />

th<strong>in</strong>k he selected raw meat to discuss<br />

vulnerability?<br />

In this performance the artist adds a layer <strong>of</strong> meat<br />

to his vulnerable body as a protective shield<br />

creat<strong>in</strong>g some sort <strong>of</strong> super-body. However, this<br />

too is one that cannot escape decay reassess<strong>in</strong>g<br />

the <strong>in</strong>herent fragility <strong>of</strong> anyth<strong>in</strong>g made <strong>of</strong> meat.<br />

<strong>Meat</strong> is <strong>in</strong>deed a live matter subject to<br />

corruptibility; degeneration through time. This is<br />

the condition <strong>of</strong> what “is”. This causes anxiety and<br />

avoids the unavoidable we put on masks and<br />

manipulate our looks. This <strong>of</strong> course is only a<br />

temporary solution to an irreversible process.<br />

Carolee Schneemann performed <strong>Meat</strong><br />

Joy <strong>in</strong> 1964, shortly after Body Art ga<strong>in</strong>ed<br />

<strong>in</strong> popularity <strong>in</strong> 1960. Male and female<br />

actors covered their bodies <strong>in</strong> meat<br />

carcasses, raw fish, chicken parts,<br />

sausages and blood, writh<strong>in</strong>g suggestively<br />

and <strong>in</strong>teract<strong>in</strong>g sexually with both human<br />

and animal alike. Taste, smell, touch and<br />

sound were all employed with<strong>in</strong> the piece.<br />

Bear<strong>in</strong>g obvious sexual resonance, the use<br />

45<br />

<strong>of</strong> meat <strong>in</strong> Schneemann’s piece is<br />

dramatically different from that <strong>of</strong> Huan,<br />

as she uses the material to represent<br />

sexuality and eroticism. Establish<strong>in</strong>g itself<br />

as a diverse material to work with, how<br />

does someth<strong>in</strong>g that was used to<br />

represent vulnerability and fragility<br />

become someth<strong>in</strong>g used to speak <strong>of</strong><br />

sexual empowerment and celebration <strong>of</strong><br />

the body?<br />

<strong>Meat</strong> can embody many different mean<strong>in</strong>gs and<br />

every artist seems to exploit a personal<br />

perspective on the overall signification <strong>of</strong> such<br />

material. However I th<strong>in</strong>k that the s<strong>of</strong>tness and<br />

moist qualities <strong>of</strong> meat most readily suggest l<strong>in</strong>ks<br />

to “the erotic”, but the smell <strong>of</strong> blood <strong>of</strong> mutilated<br />

corpses and guts may br<strong>in</strong>g to very different<br />

realms.<br />

Dur<strong>in</strong>g my studies, the majority <strong>of</strong> my work<br />

sought to <strong>in</strong>vestigate and discuss the<br />

relationship <strong>of</strong> animals and artwork. Last<br />

year, I gave a public lecture, titled “<br />

<strong>Animal</strong>s and Art: Provocative or

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