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

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Simone Racheli Lampada, (Lamp) 2007 wood, papier mache, wax. cm15x48x54h. Courtesy of PaoloMaria Deanesi Gallery © Simone Racheli 46
Progressive”. The central inquiry of the discussion asked: where do we draw the line when using animals (dead and alive) in artwork? Who is responsible for drawing the line in the first place, and how may we, as both artists and viewers, serve to respect it? I believe that the abuse, torture and death of any being is unacceptable, especially when not indispensible. But I do not in principle object to works of art involving the presence of animals, as long as they are of course treated with dignity and with an underlying respect for life. However, I find it particularly troubling that art, in the aim of creating discussion at all costs may simultaneously contribute to brutality. What are you currently working on? I am still considering the relationship between us and objects in consideration of the ego. My work will continue to explore the domestic sphere as well as the urban one. The aesthetic of the finished works will be different, but my enquiry on society and men will be further explored. Simone Racheli was born in Florence in 1966. He studied at the Academy of Art in Florence and currently lives in Rome. He is one of the most prominent internationally contemporary Italian sculptures and has been extensively exhibited both in Italy and abroad. Simone Racheli was interviewed by Antennae in Summer 2010 � Antennae 47
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 and 40: [7] “Shiva is the link between li
Page 41 and 42: S imone Racheli has developed an in
Page 43 and 44: Simone Racheli Asciugacapelli, (Blo
Page 45: Simone Racheli Telaio di Bicicletta
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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