What 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.
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.