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Themesicon: navigation pathCyborg Bodiesicon: navigation pathDoll-Bodies
Klone #92 (Huber, Dieter), 2000

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transforming the human body image, which—as was the case with Hieronymus Bosch—is denaturalized and hybridized. It can emerge in the motion of the images out of a line, out of a surface, or out of another figure (bird), and in turn enter other figures. Yves Netzhammer's imaging is not aimed at delusion; rather his digital figures (not only humans, but everything represented) have a pronounced artificial character. [29] The smooth surfaces do not simulate skin or other ‹natural› surfaces; rather the digitally produced sheen appears to suggest the materiality of plastic. The surface and the motional mechanics of the bird are reminiscent of a tin toy. In their stylization and similarity, the bodies represent a new species of human being without gender difference; they differ from one another only in their colors (not only black and white). They have no faces. They also do not have any joints: as with dolls or jointed dolls, the transitions between the limbs are more reminiscent of welded seams.

On the one hand, the nearly armored surfaces of their bodies appear impermeable; at least the inside of the body is not characterized as muscular, organic or


liquid. On the other hand, parts of the body open up or split off, are pierced through by other objects, at the same time becoming part of other body, material or texture units. If one perceives these ‹dolls› statically or describes them, they are reminiscent of sculptures by Charles Ray or photographs by Dieter Huber, both of whom take up the monstrous quality of new humans—or body images in the age of biotechnology—and thematicize the potential effects of cloning. [30]

However, Yves Netzhammer's digital images are always in motion. On the one hand they produce memory images of recognition in a permanent metamorphic shift, at the same time producing a perspective of extreme uncertainty. In many cases, the image details, the respective proportions and perspectives make the predictability and the transformation motion of the future form impossible. Yves Netzhammer uses the digital image to reflect on the human perception pattern, which is pervaded by automatisms against the background of what is known, expected and repeatable and which is exposed by the poetic images that emerge and then develop out of

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