Project Tomato. body. work. poverty2 weeks ago
The body. As in Bong Joon-ho's film Parasite, poverty has a smell. The same smell. And those bodies stink. Houses too. Social inequality crosses these places. An inequality that is also transmissible. Palaces and islands. People's homes. Some are rich and others poor. Bodies of work, survival bodies, divided into production modes, sometimes transformed into modes of repression. The social worker is everywhere, from the factory to the university. A work without pleasure in a pleasureless body. As in the world of Kasper Hauser, in Herzog's film, there are bodies that do not know what a house is. They can only grasp a few words and still don’t understand poetry but they aspire to play the piano in the rhythm of breathing. Necessity and desire stand as common ground of what is building up in time, revealing obstinate ways of being. Resisting the trap of fear, noble flavours and smells of pleasure are called upon. They cause the vibration of another disorienting and subverting body. Appealing to the poetic function that disturbs hierarchical divisions, the alimentary body combines all delusions. It is the violent language of life that speaks through the organism (Nietzsche and Artaud), the orgy (Sade), the force field (Deleuze), through what is the product of social organization (Marx). In this body which we affirm as a chain without beginning or end, it is libertinage, the order of libertine life, desire’s lawless law, and not sexuality’s law, as Foucault so lucidly considered concerning Sade, which we must name here. All sounds of desire, all detachments of thought. Endless freedom. There are those who choose the realm of submissive and boring shadow zones. As in Parasite, we may continue to pretend that we are not relatives. We prefer, however, brighter pictures.
Org: Eduarda Neves