Body Art: More than just skin deep. The human body as an exhibition space

The visual arts are increasingly turning their attention to the human form. Even in the 21st century, numerous exhibitions dedicated to body art and body art , exploring this perennial favorite subject of the fine arts and sometimes even allowing itself to be carried away by it.

The visual arts human body throughout history . For centuries, the human body has been a central motif in art and has been depicted in a variety of ways.

The idealization of the human body popular in ancient Greece Greek sculpture was characterized by its realistic depiction of the body, emphasizing above all the pursuit of perfection and harmony.

The famous statues, such as the Venus de Milo or the discus thrower, remain impressive testimonies of this era.

But even long before the ancient Greeks, the depiction of physical attributes played an important role in various archaic cultures.

In Egypt, for example, pharaohs were depicted as strong and powerful rulers, while women were often portrayed as fertility symbols. Throughout history, various art movements intensively explored the theme of the human body.

While idealized forms dominated in some eras, other periods focused on the realistic depiction of individual characteristics and emotions.

The human body in contemporary art

Even in the 21st century , this fascination with the physical body continues to find expression in numerous exhibitions and works by contemporary artists. It is not merely about the depiction of the body, but also about reflecting on social norms and identity.

In today's society, we are presented with an intact, beautiful body as the most natural thing in the world on a daily basis.

Whether in magazines, on posters, on television, and last but not least, on the internet and social media – everywhere we are confronted with perfect and flawless bodies. This ideal of beauty is omnipresent and exerts enormous pressure on us.

It almost seems as if conforming to this ideal has become an obligation. We strive earnestly to shape and improve our bodies. Diets , gyms , and cosmetic surgery are just some of the means we use to fulfill our desire for an attractive appearance.

It is therefore not important to remind ourselves that beauty is not solely defined by physical appearance. An intact, beautiful body can also include imperfections – scars tell stories, wrinkles show life experience, and curves symbolize femininity or masculinity.

Artists dedicate themselves wholeheartedly to exploring and depicting the human body in all its facets. They carry exhibitions on their shoulders to continually offer the public new perspectives on the subject.

involves not only using traditional media such as painting or sculpture , but also new forms of art such as performance , action art , installations , concept art or digital media

The body as a cultural concept

Bodies are subject to change, not only from an evolutionary and medical perspective (keyword: aging), but also from aesthetic and cultural viewpoints.

But was the body fundamentally different 500 years ago than it is today? “Certainly not,” postulates Philip J. Sampson , author of “The Representation of the Body” .

A body remains a body, whether it's that of Leonardo da Vinci Arnold Schwarzenegger 's chiseled muscles in an action film. The body has no desire and no capacity for change. That seemed obvious. But is it still true?

The conception of the human body remained constant for several centuries. It was assumed that the body was a complex but unproblematic natural object that, due to its physical and biological properties, required food, warmth, and oxygen.

The form of the body has changed relatively little since the last evolutionary leap (unless it is timeless) and is not significantly influenced by social or cultural circumstances. All these assumptions are questioned by postmodern theorists, who sometimes appear quite naive in their arguments.

The human body is a product of culture, and our understanding of it has evolved throughout history

The human body – or rather, the perception of it – is a product of cultural development, and our understanding of it has constantly evolved throughout history. From ancient ideals of beauty to today's modern notions of aesthetics, we have undergone a remarkable transformation.

Let's take bodybuilding , in which the aforementioned Arnold Schwarzenegger rose to world fame and reflected the zeitgeist of the bodybuilding heyday.

However, the roots of bodybuilding reach back to ancient Greece. There, over 2000 years ago, the human body was revered as an expression of beauty and strength. Athletes were admired for their muscular physiques and athletic prowess. This reverence laid the foundation for later bodybuilding.

The development of bodybuilding as an art form was primarily driven by the media. Films like "Pumping Iron" with Arnold Schwarzenegger and magazines like "Muscle & Fitness" led to more and more people being inspired by the aesthetics of bodybuilding.

The focus was no longer solely on individual competitions – an entire subculture emerged around the topic. Besides great discipline and rigorous training, supplements such as amino acids for muscle building a role for the athletes.

What is particularly interesting is how much pop culture and the pervasiveness of social media in our modern lives are increasingly influencing our body perception, identity, and definition of beauty ideals.

In a world where selfies and edited images are ubiquitous, the pursuit of perfection is becoming increasingly prevalent. This rampant body cult seems almost compulsive – among young people as well as older generations.

Gyms are booming, diet programs are becoming trendy, and even surgical procedures to improve one's appearance are enjoying great popularity.

The ubiquitous body cult is the result of a complex interplay of various factors: social pressure, media influences and personal motivation all play a role in our perception of our own body and the pursuit of beauty.

However, it is important to note that beauty ideals change constantly over time. What is considered beautiful today may be outdated tomorrow. Therefore, the subjectively shaped concept of aesthetics to continuous adjustment.

A brief art history of the body in modern times

The title of Marina Schneede's publication, “With Skin and Hair” , provides us with a good basis for considering body art and the human body as a canvas, projection surface and material since the 1960s.

This is about the body and its most important components in contemporary art . But this title not only clarifies the theme, but also the passion and dedication with which the artists devote themselves to this subject.

, German art historian Marina Schneede explores various aspects of the body in art: from classical depictions to abstract interpretations, a wide range of artistic positions are presented.

What is particularly interesting is the diversity of materials and techniques that the artists use to approach the theme. Whether sculptures in marble or bronze, paintings on canvas , or installations in public spaces – each form has its own expressive power and conveys very different impressions to the viewer.

But what unites these works is their intensity. The artists dedicate themselves to their subject with complete passion – they literally immerse themselves and soul . They don't just explore external features of the human body, such as proportions or anatomy , but delve deeper: they address emotions , identity , and social norms .

They do not shy away from provocative or controversial depictions, but consciously seek new perspectives. This commitment to the body in art is also an expression of the spirit of the times .

In a world shaped by technological progress and virtual realities, contemporary art makes a statement: it reminds us that as human beings we still have a physical presence – with all our strengths and weaknesses.”

The works presented convey a body awareness that does not aim for standardized body styling, but rather seeks to explore the boundaries of the psyche and the body. They view the body as a means of expression and examine both its ritual and manipulative use.

The 1960s and 1970s: Body Art and the Era of Self-Affirmation

In the 1960s, artists began to use the human body as a direct working medium . Initially, this took the form of Body Art , in which the body itself became the artwork.

Body art, also known as body art , developed as an artistic concept out of the Happening and Fluxus movements . In this art form, the human body is used both as a medium for art and as the artwork itself.

Well-known artists of the Body Art movement include Marina Abramović, Chris Burden, Günter Brus, Gina Pane, Pippilotti Rist, Carolee Schneemann, Vito Acconci, Valie Export, and Timm Ulrichs. Many artists of Viennese Actionism from the 1960s also belong to this movement.

A central element of Body Art is to challenge the viewer. The value of a work of art depended on how much the viewer's thought patterns were disrupted and how much they were jolted out of their passive role.

Later in the 1970s, they then used the body as material for their works. Was this development a reaction to the dominance of abstract art ?

There were various reasons for directly incorporating one's own body. Certainly, it was also a response to abstract art, but according to art historian Marina Schneede, it was primarily about creating immediate experiences

This was of crucial importance for artists of that time. One example is perhaps Germany's most famous performance artist, Timm Ulrichs , who exhibited himself as a living work of art as early as 1961.

But there were other considerations as well: For example, some researchers wanted to explore space very specifically – especially the environment of their own bodies. Rebecca Horn, for instance, invented glove fingers – finger extensions one meter long – to investigate precisely this aspect of space more closely.

In the late 1960s and early 1970s, more and more artists began to see themselves as politically active . They sought to gain attention and to shake up the followers of the carefree, affluent society as well as the complacent public of the economic miracle. This required drastic artistic forms of expression and content.

These were meant to be revealing and shocking, which often required the full commitment of the individual.

What could demonstrate a stronger and more unconditional commitment at that time than using 's own body as a means of expressing an artistic message

"My body is the intention, my body is the event, my body is the result."

Günter Brus once proclaimed , who from 1967 onwards transformed his initial self-painting into public body analyses that involved razor blades, digestive products, blood and physical suffering.

How does the depiction of the body in modern art differ from that of past eras?

Has awareness regarding the body changed?

The examples mentioned by Marina Schneede illustrate that the direct artistic engagement with the body – which in most situations meant: with one's own body – continues to this day.

The 80s and 90s: Alienation, Body Modification and Biotechnology

In the 1980s, the AIDS epidemic became a new threat to the body, and Mona Hatoum , an artist at documenta 11 in 2002, emphasized the vulnerability of the body as a central point of her work shortly after the beginning of the new century.

The 1990s saw rapid developments in genetic engineering, biotechnology and information technology , increasing both their opportunities and risks.

In an era where new body cults flourished and intensely explored the functions and limitations of the human body, while simultaneously facing the threat of dissolution in cyberspace, the place of the individual self in the face of body design, brain transplants, and gene manipulation was debated. This discussion oscillated between sensory overload and virtual imitation.

Although artists cannot directly intervene in biotechnological discourses, they can represent the strangeness through manipulations in images and thus express the uncertainty caused by these projects.

Mona Hatoum

The unfamiliarity of one's own body, the feeling of alienation regarding its usability, and the potential threat of no longer being able to perceive oneself as a unity of body and mind – all these aspects of a possible split in consciousness in the 21st century were impressively presented Mona Hatoum

She visualized this through an endoscopic journey through her insides.

Orlan

Around 1990, the French performance artist and feminist Orlan an extraordinary decision: she underwent a series of facial surgeries . However, these were not purely aesthetic in nature, but were staged as an artistic performance in a renowned New York gallery.

With this spectacular action, she wanted to do nothing less than question the prevailing beauty ideals of our time .

Orlan documented the entire process of her repulsive transformation through a fascinating series of photographs, which she presented to the public. This allowed every viewer to witness firsthand how her face was altered after each surgical procedure.

These shocking images clearly revealed what goes on behind the scenes of the beauty industry and prompted reflection About us ideas of aesthetics.

With her performance, Orlan shed entirely new light on the topic of body modification . Instead of succumbing to the pressure for perfectionism and conformity, she consciously showcased her own individuality and uniqueness.

Through her radical act of resistance against prevailing norms, she challenged us all to question our own definitions of beauty.

Marina Abramovic and Jenny Holzer

The body art scene is a dazzling community ranging from early body artists to ethically motivated and socio-politically engaged artists such as Marina Abramovic and Jenny Holzer .

They demand a lot of themselves and the audience, working in a meditative way or with stirring methods.

Jenny Holzer, a renowned artist and conceptual artist from the USA, designed a magazine for the Süddeutsche Zeitung in 1993. She added a provocative and shocking element by mixing blood into the lettering on the cover.

This unusual design had a very specific purpose: to draw attention to the violent bloodshed in the world. Through her artistic work, she attempted to highlight the horrific effects of violence and war in a powerful way.

The inclusion of blood in the magazine's design had a tremendous impact on readers. It triggered strong emotions such as horror, disgust, and outrage.

By using this radical form of art, Jenny Holzer directly addressed our human responsibility in the face of worldwide suffering caused by acts of violence. Her aim was not merely to point out that such bloody events occur; rather, her works were intended to encourage us to confront this problem and actively seek solutions.

100th Venice Biennale

The human body was also the central theme of the 100th Venice Biennale in 1995. In an impressive exhibition that captivated with its wealth of materials, the art history of the last 100 years was presented from this perspective, and comparisons were also drawn, in part, to scientific studies.

The exhibition impressed with its diversity and the quality of its exhibits. From classical paintings to modern installations, it offered a comprehensive overview of various art movements and styles that had chosen the human body as their main subject.

Body art in the 21st century – Body Art Renaissance?

Visual artist Käthe Wenzel , who has been Professor of Aesthetic Practice at the European University of Flensburg since June 2016, focused on three extraordinary artists in a book a few years after the turn of the century who chose human body as an exhibition object

Gunther von Hagens , a renowned anatomist and plastinator, has gained worldwide fame through his groundbreaking techniques of preparation and plastic representation of the human body.

His fascinating plastinates allow the viewer to experience the complex interplay of organs and tissues in a unique way.

Another protagonist in the book is the photographer Michael Brendel . With his artistic approach, he skillfully showcases the human body, creating impressive images full of aesthetics and depth. Through his eye for detail, he succeeds in capturing the beauty of the human body in all its facets.

British installation artist Damien Hirst is also one of the key figures in this work. Known for his provocative artworks on the theme of life and death, he again presents humanity as the central element. With his spectacular installations, he encourages reflection on mortality, transience, and existence.

This book offers a detailed insight into the work of three outstanding artists and their exploration of the human body as an expression of life and transience. A detailed book review can be found here: Deutschlandfunk Kultur – The Body in Art.

However, there are also more radical artists who use their entire bodies – sometimes even violently. This was demonstrated by a in France Centre d'art contemporain in Brétigny near Paris by the Spaniard Santiago Sierra

The exhibition presented photographs of an extremely provocative and controversial action in which polyurethane foam and various prostitutes played a central role.

This staging showed the women wrapped in black plastic wrap while they assumed unambiguous and explicit positions that were definitely not intended for young eyes.

The artist Sierra chose to hire several men to deliberately spray foam towards the female genitalia – a daring decision intended to push boundaries and stimulate discussions about sexuality and the handling of sexual taboos. The resulting series of images creates a powerful visual impact and simultaneously provokes intense reactions.

In recent years, several art exhibitions have dealt with the new adaptations and forms of expression of the human body in the age of genetic manipulation, body modification and capitalist reproduction ( SZ reported ).

The exhibition “Body Extensions” at the Museum für Gestaltung in Zurich, for example, examined the increasing importance of fitness and beauty in our society, which is perfected through plastic surgery and artificial body prostheses.

the Vienna Secession presented strategies for advertising and escape fantasies within the globally commercialized body structure in the exhibition “Body Display” .

Art often deals with the human body, but above all with its powerlessness . In Teresa Margolles' exhibition “En el aire,” one entered a room reminiscent of a laundry room. Two humidifiers significantly increased the humidity in the cell, and one was contaminated with the emanations of previously washed corpses.

These bodies were allegedly anonymous victims of the drug war in Mexico City. The exhibition called for deeper investigation and a recognition of the reality of the drug war.

What remains?

The works of Margolles and Sierra are reminiscent of the Body Art movement of the 1960s and 70s, when artists used their bodies as canvases and pierced themselves with weapons. The aim was to inscribe experiences such as pleasure, suffering, and death directly onto the body.

Chris Burden, Gina Pane and Marina Abramovic also subjected themselves to considerable pain in order to impressively demonstrate how body art served to overcome numb feelings and social oppression.

The Vienna School of Radical Action Art, centered around Otto Mühl, Günter Brus, and Hermann Nitsch, was rediscovered in museums in Vienna and Graz in the 21st century. However, its once destructive potential now appears more playful and humorous than scandalous. Its faith in the authenticity of the individual body seems naive and outdated in the age of genetic manipulation and capitalist mass conformity of bodies.

The body art of the 1960s and 1970s , in which artists used their bodies as canvases to depict experiences such as pleasure, suffering and death, is now being replaced by a more sophisticated and cynical form of body art.

This new body art brings real battlefields into the museum and is posthuman in its orientation. Nevertheless, this new body art is not immune to kitsch and pathos.

List of sources and bibliography

Books and magazines

• ART FORUM: Vol. 132 – The Future of the Body I (1995)
• Marina Schneede : With Skin and Hair: The Body in Contemporary Art , DUMONT Literature and Art Publishing House (2002)

Internet

• Philip J. Sampson: The Representation of the Body : , https://www.kunstforum.de/artikel/die-reprasentation-des-korpers/
• Deutschlandfunk : Skin and Hair. The Body in Contemporary Art , https://www.deutschlandfunk.de/mit-haut-und-haaren-der-koerper-in-der-zeitgenoessischen-100.html
• Susanne Nessler : The Body in Art , Deutschlandfunk Kultur, https://www.deutschlandfunkkultur.de/der-koerper-in-der-kunst-100.html
• Holger Liebs (Süddeutsche Zeitung) : The Human Body in Art : The Nudes and the Chaos, https://www.sueddeutsche.de/kultur/der-menschliche-koerper-in-der-kunst-die-nackten-und-die-chaoten-1.415429