Texto não disponível em Português.
Lendo em Inglês
Obra de arteUlises, cuerpo gaseoso [Ulises, Gaseous Body]
Publicado: 1996
Mídia: Laser print on paper
Abstract
Ulises, Gaseous Body is a series of works that speak to the vulnerability of the body. The installation recreates spaces from the men’s sauna Ulises, a cruising site that peaked in popularity during the 1990s and remains active today.
The wall features a photograph of the sauna’s lockers, intervened with latex torsos, towels, and condoms. The towels come from the sauna itself and are treated with mineral pigments to leave traces of transient, fugitive, and fragile bodies. The mask, for its part, “refers to the body subjected to forces of desire—to the instant, the limit, and the risk of the warrior.” Taken as a whole, the work pays tribute to the victims of the AIDS epidemic.
Texto não disponível em Português.
Lendo em Espanhola
Obra de arteUlises, cuerpo gaseoso
Publicado: 1996
Mídia: Impresión láser sobre papel
Resumen
Ulises, cuerpo gaseoso es una serie de trabajos que refieren a la vulnerabilidad del cuerpo. La instalación recrea espacios del sauna masculino Ulises, sitio de cruising que tuvo su auge en los años noventa y que aún continúa activo.
El muro presenta una fotografía de los casilleros del sauna intervenidos con torsos en látex, toallas y preservativos. Las toallas provienen del mismo sauna y son intervenidas con pigmentos minerales para dejar rastros de cuerpos transitorios, fugitivos y frágiles. Por su parte, La máscara “refiere al cuerpo sometido a fuerzas del deseo, al instante, el límite y el riesgo del guerrero”. En su conjunto, la obra rinde homenaje a las víctimas de la epidemia del sida.
Texto não disponível em Português.
Lendo em Inglês
Obra de arteUlises, cuerpo gaseoso [Ulises, Gaseous Body]
Publicado: 1996
Mídia: Laser print on paper
Resumo
Ulises, Gaseous Body is a series of works that speak to the vulnerability of the body. The installation recreates spaces from the men’s sauna Ulises, a cruising site that peaked in popularity during the 1990s and remains active today.
The wall features a photograph of the sauna’s lockers, intervened with latex torsos, towels, and condoms. The towels come from the sauna itself and are treated with mineral pigments to leave traces of transient, fugitive, and fragile bodies. The mask, for its part, “refers to the body subjected to forces of desire—to the instant, the limit, and the risk of the warrior.” Taken as a whole, the work pays tribute to the victims of the AIDS epidemic.
