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Themesicon: navigation pathCyborg Bodiesicon: navigation pathMonstrous Bodies
Klone #92 (Huber, Dieter), 2000Sibylle (Breuning, Olaf), 1997Group (Breuning, Olaf), 2001
Durchströmung II (Müller, Victorine), 2004

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In the photograph «Klone #92» by Dieter Huber from his «Klone» series we see the naked upper parts of the body of a man and a woman who are kissing. Their tongues have grown together to form a single tongue. Being a clone has been staged as a monstrous threat of gender boundaries becoming unrecognizable, of the collapse of norms and of unforeseeable proliferation. The threatening end of bipolar gender difference indicates that something has gone out of control.

Besides horny women and screwed-up knights in armor, monsters, animals and freaks are the protagonists who populate the photographs by the Swiss artist Olaf Breuning. In «Sibylle» (1997), for instance, we see a mutilated, female monster being—half animal, half human—displayed on a table top. But the woman monster appears to be so badly botched together that we are more amazed than we are startled. The animal-like monster men in the photographic variations «Group,» «Steve,» «Ruben» or «Sam,» all of whom grotesquely grin into the camera before a crimson jungle sky, do not really terrify us either. And yet Olaf Breuning's photographs are


monstrous and uncanny: Because everything has somehow become different. The human has mutated into the animal, into something horde- and pack-like. The only stable thing in this proliferous scenery—the knights and the beautiful women— has become unreal, ironic quotations of a mythical stability and unity. Not only do these myths have to be arduously upheld with the aid of dominant sexist behavior—in «Princess» (2000) a knight rather shakily places his foot onto a cavewoman writhing on the ground—they also seem to have gone out of fashion: The proximity of the horde-like monsters, «primitives» or «Vikings» to grunge, «Skaters» (skateboarders) or urban Indians, the mixing of men and women into long-haired, shaggy Chimeras clearly indicates that something has collapsed and lost all control, that notions of humanistic individuality and subjectivity, but above all of reason-oriented masculinity, have given way to something other, something collective.

In the installation «Durchströmung II» by the Swiss artist Victorine Müller, a perfect doll figure seems to literally lose all self-control: Water, which generates a circulatory system of a very different kind in shiny

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