“Novelist Rick Moody pins down the silicone postmodern language of Yael Kanarek’s latest works, which struggle with notions of affiliation and territory while pointing to the potential to transcend those boundaries.”
When Pero Afonso de Sardinha arrived on the shores of Brazil from Portugal in the mid-sixteenth century to be Bishop of Bahia, natives in the Aimorés tribe ritualistically ate him. This historical event has been a source of identification for Brazilian artists since the modern era, and has been used as a foundation for the cultivation of encompassing expressive poetic forms. Use of this transgressive context has by now expanded, and has new significance and application in today’s media environment.
“To men who had lost their self-possession, the dandy, who makes of elegance and the superfluous his raison d’être, teaches the possibility of a new relation to things, which goes beyond both the enjoyment of their use-value and the accumulation of their exchange value. He is the redeemer of things, the one who wipes out, with his elegance, their original sin: the commodity.”