The world in 2017 is a frightening and chaotic place: why not relieve your anxiety with some casual masturbation or perhaps some good old-fashioned sex? As a corollary to the heavy menu of post-colonial guilt, migration-related tub-thumping and an abstract, queasy panic induced by global capitalism, this year’s Venice Biennale is letting off steam with an abundance of carnal knowledge. From pagan fertility rituals to extreme genital modification: it’s all here for the taking.
Showing as part of James Richards’s exhibition for the Welsh pavilion, the film What Weakens the Flesh Is the Flesh Itself (a collaboration with Steve Reinke) explores the body as a work of art in itself. Besides a lingering tour through snapshots of cheerful young men hanging out at a festival, and footage from an erotic photo-shoot heavy on the squashed fruit, the film draws extensively on the private photographic archive of Albrecht Becker.
An actor and photographer arrested and imprisoned for homosexuality by the Nazis, Becker became obsessed with representation and modification of the body. Gradually the images shown of this mild-looking elderly man in his V-necked sweaters become more unconventional, revealing a body entirely covered in homemade tattoos and piercings. Fairly close to the top of Venice’s wince list this year comes Becker’s modified and elephantine groin, so swollen that the penis prods out like a little mushroom cap. From a bolt through his glans, he lifts great metal chains.
The Welsh Pavilion; nice. At last I see the value of devolution to the Principality. Couldn't be prouder.
Cardiff-born Richards’ interest lies in the possibility of the private amidst the public chaos of quotidian media. His work makes use of an ever-growing bank of material that includes fragments of cinema, works by other artists, stray camcorder footage, murky late night TV, film soundtracks and archival research.
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