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The Glass Veil: Seven Adventures in Wonderland


Suzanne Anker and Sabine Flach

In this collaborative work between artist and theorist Suzanne Anker and art historian Sabine Flach, the study of image production unveils the reality of pictures beyond their function as mere representations of the world. The visuals range from firsthand accounts of specimen collections in historical medical museums, to scientific research laboratories, to studies of plant propagation, among other themes concerning life forms and Bio Art. Focusing on systems of artistic knowledge, the authors demonstrate how context, scale and framing devices alter meaning in pictorial systems. Somatic responses, classification networks and image banks are explored as they relate to intersections in visual art and the biological sciences.
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Errata/Erotica: Suzanne Anker



The battle over where the body starts and ends has of course extended to the issue of reproduction, substituting the right of the unborn for the born, in the same awkward metonymic exchange that allows the phone sex hype to replace body with voice.

Celeste Olalquiaga, Megalopolis

Whether decoding the fetishist’s masquerade or simply acknowledging cross-dressing, the repositioning of anti-Oedipal sexual models as principles of pleasure have become critical devices towards establishing elasticity in the mind-body scenario. To stipulate that sexuality is a known set, an equation based on constant variables, is to fall prey to quantitative measurement, to the point of excess. Pleasure is a principle of play and exploitation, offering itself up as a recharge to subliminally consecrated drive, reprogramming its own recital in a soliloquy without end. Pleasure and its self-replicating agendas act out the release mechanisms under which our cognitive attention is kept and held erect. To view the pleasure-paradigm as a fractal of charged units, as an electrically coded process, is to conceive of the arena in which sexuality, desire, hunger and thirst, obsession, addiction, compulsion, excitement, terror, anxiety, and fear find themselves as rent controlled tenants.

Eroticism and seduction as part of sexuality cannot be separated from voyeurism and fetishism, from sensorial input and metonymic fragmentation. Deep within our sexual catalogue, a textual encodement portrays and registers drives. As prescriptive markers, the menu of sexual preferences in Western culture carries within it, like a...

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