The painting should splatter, if possible, into the room. Of course the fighter jets and guns are weapons designed to keep you off the canvas (land) and they also to point to the cause of the wounds. The land-body merges into itself; the wound of the border has been addressed. There are plenty of reasons not to see abuse of the female body, female self determination or misogyny as fundamental to fascism and National Socialism, but both dehumanize the biologically female body as material to be governed, representing it as fertile land to be cultivated for profit. The film Mad Max (2016) has gorgeously gross steam punk images of women tied up with milk pumps attached to their breasts, blindfolded and, not surprisingly, people much prefer to see that, and to gaze at the strong and beautiful yet maimed female revenge fighter body, rather than acknowledging the milky weapons themselves, or to listen to the milk speak about that unbound and materially messy stuff which is usually pushed out. July 2017
Landing Strip for the Milky Way 15 m x 1,67 m x 0,90 m Transparent paper, 2 layers, clamps, human milk, neon light. Close. Never Closer. Curated by Jan Verwoert.
Die Arbeit wurde realisiert mit Unterstützung der Einstein Stiftung Berlin und mit Hilfe der Graduiertenschule der Universität der Künste Berlin.
Making of. With Yann Colonna and Antonije Buric.
Heteronormativitätsparaphrasierungsexperiment performance with Yann Colonna and Margarita Certeza Garcia First landing: Yann Colonna speaks German, Lisa Glauer translates Second landing: Margarita Certeza Garcia speaks English, Lisa Glauer translates