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La FotografÃa de Difuntos fue una práctica muy extendida en el siglo XIX que básicamente, consistÃa en vestir a un cadáver recién difunto con sus ropas personales y participarlo de un último retrato grupal, con sus compañeros, familiares, amigos, o retratarlo individualmente. El motivo por el cual -en ese entonces- este tipo de imágenes no eran consideradas morbosas, puede deberse al ideal social que se gestara en la época del "Romanticismo".
Las fotografÃas de difuntos los muestran "cenando" en la misma mesa con sus familiares vivos, o bebés difuntos en sus carros junto a sus padres, en su regazo, o con sus juguetes; abuelos fallecidos con sus trajes elegantes sostenidos por su bastón. A veces, agregaban elementos icónicos -como por ejemplo una rosa con el tallo corto, para señalar la muerte de una persona joven, relojes de mano que mostraban la hora de la muerte, etc.
'Lucky's Tale': The Unexpected Delight of Third-Person Virtual Reality, a Technical Postmortem
Dan Hurd | Design Director, Playful Corp
Evan Reidland | Engineer, Playful Corp
Location: Room 2006, West Hall
Date: Tuesday, March 15
Time: 1:20pm - 1:50pm
BL order from March/February finally came through. It was part restock (16 balljoints) and part misc- rahkshi limbs I've always wanted, weird antennae pieces to use somehow and some gold stuff; blades, armour and a Pakari 2015 for a scrapped MOC named "Warden Kade."
Suffice it to say, it's probably not going to happen now.
. . . . .
The most jarring thing about this picture to me is probably the distinct lack of my usual background. It's alien, foreign: but the same place I take all my pictures. . . . . . . .
Whatever. Back to studying.
Performance by Joan Morey, "POSTMORTEM. Pour en finir avec le jugement de dieu" (2006-2007). Reenactment by Sònia Gómez programmed within the framework of the exhibition "COLLAPSE. Desiring machine, working machine", Centre d’Art Contemporani de Barcelona - Fabra i Coats, 27 September 2018.
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Photo © Noemi Jariod. Courtesy the artist.
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Each of the six programmed performance reenactments is extracted from its original context as studies or scenes from earlier projects and given an independent life. These live-action fragments encompass ritualistic exercises following the artist’s rules, tableaux vivants, and dramatic orations based on texts by the artist or by playwrights such as Samuel Beckett. Whenever possible the performances maintain their original interpreters, yet inevitably they are reinforced or degraded through their repetition, adding another layer to the artist’s exploration of control.
POSTMORTEM. Pour en finir avec le jugement de dieu
[POSTMORTEM: To Have Done with the Judgment of God] 2006–2007
Fragment from panel 7 of "POSTMORTEM. Project in Seven Tableaux" (2006–2007). The performance uses the radio poem "To Have Done with the Judgment of God" (1947) by Antonin Artaud, with a duration of 23 min 49 s, as its choreographic score. The first performance of this piece for a single
female performer took place as a part of "POSTMORTEM". It was repeated as a part of later projects with either a female or male performer.
Made inert as an individual by the skin-tight garment that
covers her entire body, the performer becomes a crawling and indeterminate body-thing that emits vocal expressions. She is literally burdened by a device that only amplifies Artaud’s constant evocation of the voice as a kind of excrement and his palpable obsession with the misery of existence.
© Text by Latitudes
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Since the late 1990s, Joan Morey (Mallorca, 1972) has produced an expansive body of live events, videos, installations, sound and graphic works, that has explored the intersection of theatre, cinema, philosophy, sexuality, and subjectivity. Morey’s work both critiques and embodies one of the most thorny and far-reaching aspects of human consciousness and behaviour – how we relate ourselves to others, as the oppressed or the oppressor. This central preoccupation with the exercise of power and authority seemingly accounts for the black and ominous tenor of his art.
COLLAPSE encompasses three parts. The first is presented over two floors of the Contemporary Art Centre of Barcelona - Fabra i Coats. ‘Desiring machine, Working machine’ is a survey of ten projects from the last fifteen years of the artist’s work. An exhibition display based around vitrines and video screens deployed as if sarcophagi or reliquaries, is presented alongside a continuous programme of audio works and a schedule of live performance extracts.
The second part of COLLAPSE takes place at the Centre d’Art Tecla Sala, L’Hospitalet de Llobregat (23 November 2018–13 January 2019) and is the definitive version of the touring exhibition ‘Social Body’.
Titled ‘Schizophrenic Machine’, the third and final part of the project comprises a major new performance event which will take place on January 10, 2019 at an especially resonant – yet, for the moment, deliberately undisclosed – location in Barcelona, where live action will be integrated within the longer narrative of the site’s physical and discursive past.
COLLAPSE is curated by Latitudes.
—> info: www.lttds.org/projects/morey/
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Photos by Stephen Brashear
Here jim attempts to pry the Agfa Isolette camera from my cold dead fingers - and it's not working, just like peeling the fingers off the camera didn't :-)
Once you have procured the use of a prop like this, you can't just stop at one shot, see the Coffin set for some of the other images.
The mortuary slab at the former Greaves hall mental hospital nr Southport. It had been vandalised when I visited, but still had an eerie atmosphere. Scanned from a negative.
Rigor mortis: Signo reconocible de muerte causado por un cambio quÃmico en los músculos que causa un estado de rigidez e inflexibilidad en las extremidades y una dificultad para mover o manipular el cadáver. A una temperatura normal el rigor mortis suele aparecer a las 3-4 horas después de la muerte clÃnica y el rigor suele tener un efecto completo sobre las 12 horas... Delicatessen!
Karachi: Sindh High Court (SHC) Wednesday was able to suspend the decision from a court in the local area that directed the postmortem for Dr. Aamir Liaquat Hussain.
The petition was made by Aamir Liaquat's daughter and son seeking the court's intervention to put off the postmortem and exhumation scheduled to take place on the 23rd of June.
The day's hearing at the beginning of today's hearing, advocate Zia Ahmed Awan counsel for the petitioner stated that the magistrate presiding over the judicial proceedings (East) has made an order following the hearing of the client's statement in writing. He claimed that they had resisted the postmortem examination conducted on Aamir Liaquat.
In this case, the judge instructed lawyers to read the decision of the magistrate judicial. In the following the SHC lifted the magistrate's ruling in relation to Aamir Liaquat's autopsy.
Following the hearing the former wife Bushra Iqbal broke into tears.
Two members of the SHC bench took up the case on Wednesday.
Judicial Magistrate (East) Wazeer Hussain Mén on June 20 commanded the authorities to perform a postmortem on the body of the televangelist, who passed away earlier in the month under strange circumstances.
A medical board comprised of six members was established to conduct the autopsy in accordance with the court's orders. Police surgeon Dr. Summaiya Syed was appointed its director.
newszillas.com/shc-suspends-order-directing-aamir-liaquat...