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Good Boy
The body as a reservoir of worlds, of spaces, of modes of existence, of fluxes, of mutations, of transformations. Opposed to the body- tool of the dancer, Good Boy plays around with the idea of a body- apparatus, a favored instrument-body by which is heightened and exacerbated a certain form of transgression; a body that reveals the social and moral glut, a body that speaks vitality and sickness. We don’t know what the body is capable of. Why not start from zero with the body, invent a new articular geography, invent another organic grammar. Explore its surface like a field of heterogeneous and independent segments, organize relationships between masses, draw it prolongations into the space, excrescences and growths. Transfer the original functions. Repeat everyday gestures to give
it imaginary hindrances. Erase the identifitary contours to better sketch in others. Manufacture a useless body to enwrap it in a new status, embrace a new stature, and shatter the aesthetics of the sculptural ideal inherited from J. J. Winckelmann.
Alain Buffard [9 November 1997]
