Archive for May, 2018


The living canVas stretched 2oo thin

The ancient art of pain\ting and coll/aging the body is closely akin to the primitive mind. By its own inventiveness body art has ranged from painted manifestations <chalk>, relief <scarification> and sculpture <piecing> raising the issues of form and concept.

North African, particularly Kenyan Maasai tribesmen, commonly plasticise their ears with ear piercing. The carved flesh and collaged items of Ethiopian, lip disks, are used by Surmaian’s to signify web [www] like codes [C://], a kind of metalanguage [a language used for the formal des/cription of another lang\u/age]. In the Karoo the bushmen have used extensive scarification, a language of .’s [dots] and /’s [slashes] that are thought to signify great beauty. In Kenya, the Turkana’s use ‘plugins’ that are attached to every conceivable vantage point, upgrading the per\form/ance of the adorned.

In many cultures the painting, scarification and piercing are coupled with masks, the stretching of limbs and the shaping of body hair e/x\uding a smoothness foreign to most art – an interrogation of the production of beauty, while at the same time attesting to the possibility of making something beautiful out of that interrogation [DATAFLOW LANGUAGE].

All these forms of body art are Alive and re-birthing in urban comm/Unities on a scale that is frighten.Ly similar to, the sp/read of a virus on the Internet – works of art that are not afraid to be beaUtiful. One of the most common forms in yougth culture is the tattoo. The tattoo allows for behaviour-like descriptions of logical cultural circuits [ABEL]. Tattoo’s and pubic hair shaving has infected the urban yoUth cultures and range from the secretive to the public. The sub-cultures and expErimentalists both do research that eventually blossoms in culture. They become a comment on the dominance those images exerted in a culture of the spectacle.

Body art is the graffiti of the skin, an assembly language [a symbolic representation of machine language]. Although these art forms date 5000 years, with modern techniques that have progressed concurrently via sailors, criminals and pop idols, the creators of this art form have limited their stylistic expressions to cliché’s and illusionist content, in a similar way that urban graffiti has done.

Body art is a virus that affects the youth cult like the mould of live fungi that grows onto the rot that the virus has left in a recontextualising of I/cons. Like graffiti, body art is mainly found on neglected edifices in economically suppressed environments – like industrial paint on con/ex\crete. When it grows onto chrome and polished surfaces usually we can see the designer’s touch/ the interior decorators arrangements, the truth of pornography revealed in bodies broken down into bits and pieces of eclectic pre/history.

The mould of body art has grown off the concrete and onto the flesh portraying an attitude rather than inane concreteness – the exposure to spores released by these moulds is known to cause or worsen social allergies – a kind of Stachybotrys chartarum [toxic mould]. As Henry Lick once pointed out: “Mould is replacing asbestos [fashion] as the next issue for industrial hygiene”.

The Nazi’s tattooed swastika formed an aggressive symbolic unity amongst S.S. soldiers in W.W.II. They volunteered to have the swastika patriotically tattooed onto their skin [BIGWIG], but this attitude in terms of meaningful content is a meaningless participation of individuals in the hypocrisy of the world [a participation that combines all the elegance and power of assembly participation with all the readability and maintainability of assembly participation].

Body art has become the last and first frontier of all fa://s.C.hion/ists.