About Restoring and Nourishing / Eating Beauty
Thanks to love for beauty and aesthetics, you now have the chance for one passionate bite.
Assimilation by Zoran Todorović (...) uses a selected personal iconographic pattern to communicate narrations connected: to idealizing female beauty and imposing/accepting of the oppressive and unreachable norms and standards of perfect beauty; to a traditional female relation between beauty and pain; to a privileged position of a face in our culture – as related to the rest of the body – as the most precious characteristic through which people identify themselves; to a hospital and an operating room as the mysterious places where it is permitted to transgress the archaic taboo – forbidding touching and cutting open the body – in order to liberate oneself (through devouring) from a surplus that is unacceptable and/or is acquired via social norms; to the eroticizing/perverse nature of passionate food enjoyment, as well as to the borders of the body and borders of the art. Now, in a rustic room with an oval table covered by a green cloth (as in operating rooms), arranged with plates, cutlery and a menu, one could find servings of cake-moulded jelly, garnished with vegetables. According to the menu, jelly ingredients included female skin and facial fat (discarded after a conventional face lifting), white onion, carrot, parsimony, salt and pepper. Walls of this staged dining room displayed a sequence of chronologically arranged photos shot during a cosmetic surgery, focused at cutting/skimming facial 'surpluses'. A primary concept of recycling the ugly/surplus into the beautiful/new objects – and regarding (potential) nutritive nature of a newly made product – has implied person will 'hide' her surplus by eating it, and thus definitely and with pleasure remove it from (off) her organism, through natural (normal) process of defecation. However, since the Society is the one possessing power of sanctioning the permitted and undesirable, it is consequently the one behind a surplus production. Deviating from this primary concept and offering these jellies – made after an extraordinary recipe, to the very same society – Todorović has transferred a problem of surplus from a private into a public domain. In this manner uneasiness and shame got transformed into/through an artwork, overgrowing dimension of intimacy and returning as a boomerang – provocation to its own generator.
Jasmina Čubrilo, excerption from a text, 1998