Morocco Marrakech Amazigh musicians 1986
Fulani woman, Niger
issey miyake fall 2002
Catalog “No.38 octobre 1978”, Photo by Hajime Sawatari, 1978
"Man once fought against the physical forces to assure his own existence, his body expressed life in a direct and striking way. But man of today - climbing up and down in an elevator, stepping from just right here into the car - possesses a body that no longer works as a shell covering his personality and his perception, while at the same time miraculously protects the biological functions that sustain life. Our bodies are dishonored and withered by the absence of utilization […]. This conscience becomes a defect, as the majority of us react to contemporary dance as a quasi-international language, our fear of its alienation has become stronger than the innovation of other art practices."
Regarde la mer (1997), d. François Ozon
"Where did this primitive, deeply rooted, and perhaps by now ineradicable idea derive its power, the idea of an equivalence between punishment and pain? I have already given away the answer: in the contractual relationship between creditor and debtor, which is, in general, as ancient as the idea of “legal subject” and which, for its part, refers back to the basic forms of buying, selling, bartering, trading, and exchanging goods.
[…] Watching suffering makes people feel good; creating suffering makes them feel even better—that’s a harsh principle, but an old, powerful, and human, all-too-human major principle, which, by the way, even the apes might perhaps agree with as well. For people say that, in thinking up bizarre cruelties, the apes already anticipate a great many human actions and are, as it were, an “audition.” Without cruelty there is no celebration: that’s what the oldest and longest human history teaches us—and with punishment, too, there is so much celebration!”
Nietzsche, On the Genealogy of Morals
Perm Museum XXI model featured in poster of Valerio Olgiati’s solo exhibition at MOMA Tokyo, 2011