All made with human waste (menstrual blood, urine, hair, nails, saliva) and “cultural waste” (pieces of old artworks, leftover paper, books, music sheets etc).
While menstruation has an important part in art regarding the themes of women’s liberation, here I am more concerned with population control, eugenics and neo-eugenics (or liberal eugenics, genetic engineering) as a part of posthumanism, specifically the class issue of posthumanism, and the way it exclusively benefits the richest one percent. There is a very thin line between posthumanism and racist pseudosciences that have the same goal of creating superhumans, and, on the other hand, there is also a very thin line between late-stage capitalism and feudalism: in other words, historical progress is more recycling old patterns and less progress, and we currently seem to be living both in the era of nationally-driven turbofascism and class immobility of the feudal period.
This series of works explores the historical continuity of bodypolitics both in political and cultural context and the overlapping of the two, by using the motifs of medieval-like manuscripts, feudal, Christian and fascist motifs, cultural and historical references and body waste as a witness of both immortality(since they are immortalised in an artwork) and decay. Menstruation is specially politically saturated (it is quite litterally potential baby juice) so it highlights the role of childbirth and family values in the blood and soil ideology.
Big inspiration for these works, together with medieval illuminated texts and illustrations, are Duchamp, Rauschenberg and Cornell’s conceptual and Neo-Dada assemblages and interventions which feature both the motives of bodily fluids and appropriated pieces of texts and images.