Lady Gaga in Marat’s Bathtub

OLYMPUS DIGITAL CAMERAWhat is she doing there? She is there for a picture, but this is her problem. Our problem is to understand why Robert Wilson has put her there. What could that be, money, publicity…? Sure, sure…, that goes for everybody, but what are the issues? If Gaga assumes the role of Marat, then Wilson performs as David; consequently, Gaga is to Wilson, the same as Marat is to David. Hence the first issue is political: art in politics and politics in art. And the first question is, “What is so political about Gaga?”


To understand what is at stake we have to continue looking at the way Wilson plays with Gaga. Her severed head on the platter, the artist dips his finger into her blood, caresses her beard. So, two more issues are sexuality and mutilation — self-mutilation, to be exact, and the role they play in the politics of art.

OLYMPUS DIGITAL CAMERA Then the question becomes not only political but also historical; but so it was all along, contemporary art is all about Art History! Yet when we ask further questions about “avantgarde forms of sexuality” and self-mutilation as a form of art, this may bring about anthropology: only we are no longer piercing this or that, but reshaping our entire body in the image corresponding to the body beautiful today. There we need to remember that beauty is ephemeral; however, the fight with the body goes on — three bodies: body political, body sexual, body beautiful; and the three pivot in the sauce of political sexuality, and promote further the sexualization of politics.

About versaillesgossip, before and after Francis Ponge

The author of the blogs Versailles Gossip and Before and After Francis Ponge, Vadim Bystritski lives and teaches in Brest France. The the three main themes of his literary endeavours are humor, the French Prose Poetry, the French XVII and XVIII Century Art and History. His writings and occasionally art has been published in a number of ezines (Eratio, Out of Nothing, Scars TV, etc). He also contributes to Pinterest where he comments on the artifiacts from the Louvre and other collections. Some of his shorter texts are in Spanish, Russian and French.
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