Categories
Animalistic Issue

Antispekunst 1

“Warum mag ich iitsch nicht … ”

Link zur der MP4-Datei: Devoid 3.

Warum befasst sich der Großteil der Tierrechtsszene nicht mit dem Thema Speziesismus in der Kunst? Welche Fragestellungen in Hinsicht auf das Mensch-Tier-Verhältnis und die erfahrene Realität von nichtmenschlichen Tiere werden hier gemieden? Thema: Ästhetik und Antispeziesismus.

Categories
Animalistic Issue

Kunst und Speziesismus: Artscience

Gerda Fischbach
http://artscience.uni-ak.ac.at/people?personen_id=1516014703778

This page is full of extreme speciesist art

http://artscience.uni-ak.ac.at/people/role/team
http://artscience.uni-ak.ac.at/activities

FLESH
First of all, the meat was needed for isolating primary animal cells. Once the animal tissue had been swabbed with ethanol, a tiny section was removed and immersed again in ethanol.
http://artscience.uni-ak.ac.at/activities/bioart_

TAXIDERMY
“Things that Talk“ – at the Naturhistorisches Museum Wien. It shall be a source of inspiration and provide an unusual view of the museum

SPECIESIST BIOLOGISM
I will review a number of mechanical problems we offered kea in lab and field and I will show the way their behavioural flexibility may even include acquisition of tool use behaviour.

more speciesist biologism
http://artscience.uni-ak.ac.at/activities/field_research

more speciesist biologism
Bernd Kräftner * Video Projection and discussion:
“Harlow’s monkey studies on deprivation”
http://artscience.uni-ak.ac.at/activities/roundtable_3

more speciesist biologism
Field Research
A report, fully photo-documented, from the FIWI, Research Institute of Wildlife Ecology, by Max Kropitz and Zahra Shahabi opened this Roundtable, focussing on issues such as taxidermy, experiments’ set up using mice and studies on fish behaviour.
http://artscience.uni-ak.ac.at/activities/roundtable_16

extreme speciesist biologism
ROUNDTABLE
Field Research
He proposes a new kind of art called “attraction art”, through the same approach and also discusses the role of the public as an equal part of the artwork in a performance piece.
http://artscience.uni-ak.ac.at/activities/roundtable_17

and there is much more on that page listed. Not digging deeper now.

Categories
thea-logic

early 80ies

A billboard poster by Farangis Yegane for the Green Party in 1981 against the arms race. A hot topic in the 1980ies. Tthe original painting:Putting up the billboard in Frankfurt am Main at the intersection Eckenheimer Landstraße / Nibelungenallee.
The Detusche Nationalbibliothek is at this intersection today.

Categories
For Example Mithras

Mithraism and differences to other mystery cults

A few mixed facts about Mithraism and its difference to other “oriental mystery cults”

“Mithraism then entered Asia Minor, especially Pontus and Cappadocia. Here it came into contact with the Phrygian cult of Attis and Cybele from which it adopted a number of ideas and practices, though apparently not the gross obscenities of the Phrygian worship.” > LINK ( http://www.newadvent.org )

“In Antiquity, the Phrygian cap had two connotations: for the Greeks as showing a distinctive Eastern influence of non-Greek “barbarism” (in the classical sense) and among the Romans as a badge of liberty. The Phrygian cap identifies Trojans such as Paris in vase-paintings and sculpture, and it is worn by the syncretic Persian saviour god Mithras and by the Anatolian god Attis who were later adopted by Romans and Hellenic cultures. The twins Castor and Pollux wear a superficially similar round cap called the pileus.” > LINK ( http://en.wikipedia.org/wiki/Phrygian_cap )

“While it’s true that in his earlier incarnations, especially in Zoroastrian religion, Mithras was associated with the sun, no tauroctony is ever mentioned there or anywhere in pre-Roman Mithraic legends. Nor is there even the slightest hint in Persian accounts of Mithras killing some celestial bull. How is it possible, then, to reconcile the Mithras we see in Rome with his earlier synonymous counterparts?” > LINK ( http://www.usu.edu/markdamen/ )


Romanising Oriental Gods: Myth, Salvation and Ethics in the Cults of Cybele, Isis and Mithras (Religions in the Graeco-Roman World) by Jaime Alvar and Richard Gordon, 2008, pp. 385. > LINK

The difference between the cult of the Magna Mater (Attis, Cybele) and Mithraism is the most striking in the forms of baptism. Mithraism is a symbolic myth, whereas Magna Mater is an actual orgy cult, that uses blood in their initiation rituals > LINK

Finally:

You can’t really separate the the history of Mithraism from its Zoroastrian and Pre-Zoroastrian roots.  Or you would end up losing the actual myth.

Categories
Animalistic Issue

objectification and taxidermy

Speciesism in art is for a big part taxidermy in art

This site writes: “Well they are dead anyway” … http://www.ravishingbeasts.com/taxidermy-artists/

But they exactly use the dead bodies of nonhuman animals because these animals obviously have lived before. Using a dead body is a means to gain possession in a definatory way over the de facto existential part of a living being – even when the individual is dead. Obviously there is a meaning of the procedure and use to the makers and onlookers of “taxidermic art”, because otherwise they could be using their own skills to sculpt their ‘works of art’ instead of using the physical remains of an animal body.

Taxidermic “art” is a way to grievously ridicule the fact that nonhuman animals are victimized by the majority of the human societies (people used human bodies in a comparable objectifying way).

Taxidermic “art” stands on the side of the human speciesist majority, in that it implicitly supports the normalcy that this majority segment of society has established. You are allowed to see the animal body as an object – not more and not less.

Taxidermic “art” uses a dead individual’s body – a body: a temple of any living being’s existence. Anybody who omits this scale of animal subjectivity automatially sides with the speciesist stance.

The kind of artists/arts that employ taxidermy and their audience rub into your face what they feel is “art” to tell you something that I would sum up as: ‘Look what we can do, look what we do to the inhabitants of this world. We care, but in a destructive and derogatory way.’

Effectively this type of artistic expression is an attempt to mute animal rights and antispeciesism, their ignroance towards critique comes across like an attempt to push other stances into absurdity, by using the cynicical rethoric toward animality and by riding comfortably on the wave of the overall lack of self-critique in contemporary art.

Animal objectification is an accepted visual rhetoric that gives the artists a means to silence ethical non-relativism and any critical and moral standpoint on the display of animal bodies in art.

What this art also is doing is that it is catering to the oppressive patterns that we have in our societies. In a way much of the mainstream art does that today, simply by voluntarily reducing self-expression to speaking in just one single language of aesthetics, thus supressung basic individuality and plurality in artistic expression.

Speciesist and nature-derogative art marks the spearhead of ideological human destructiveness though. While amongst humans people tend to act as if they are “open for discussion” , speciesist and nature-derogative “art” seems to voluntarily or involuntarily make clear that the capacity of free thinking, that humans claim for themselves, is merely a hatred for the existential realities and the independence in the meaningfulness all other existence.

It’s a question of might.

Here is an interesting example of an artist doing what she calls “vegan taxidermy” : http://www.vegantaxidermy.com/. A nice and interesting artistic project. (One could imagine abstract forms of such arts too.)

I’ve been mentioning taxidermy in previous posts, many speciesist artists use dead animals or their body parts. One of the most famed ones being Bansky, who is considered infallibly subversive by his fanbase and media https://www.farangis.de/blog/wurst.