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Louisa MinkinClick here to Print this Page
Michael Curran
Images and stories reposition each other

One form of connection is a fistula. This is a passage or canal, either artificial or of morbid origin, which connects one thing to the other. It is bodily, underground, rhizomatic in structure. Fistula, scripted by Osnat Haber, is narrated by the voice of a machine. A love story; a desire story; a story waiting for another story; a limbo populated by spectres of femininity.

All of these pieces are Visits of Love. In these encounters do you notice how your gender and sexuality shift: man to man, woman to woman, woman to man? Identity is applied, a tilt to the eyebrow. You are making yourself up. The depth is already on the surface. If you watch Les Souffrances Du Dubbing you will find that there is a waterfall, a gorgeous transvestite mouthing the voices of several women. It is all artifice, the waterfall disappears and we see the blue screen of our keyed-in imaginary.
In L'heure autosexuelle there is no relation between man and woman. They are in the same room but his absurd eroticism exists in a different space to her ennui. They never make contact, no matter how he disports himself, pea-cocking in leather gloves. His gyrations are futile. She yawns.

'They can very well try to find each other; they will never find anything but parodic images, and they will fall asleep as empty as mirrors'.

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