This post is NSFW.  It’s all about sex and love with objects.

It’s also very scattered…  My apologies.  I’m all fuzzy from watching the video just below…

Above is [a still from] Matthew Barney‘s film Hoist, a film of objectophiliac porn that he released in 2006 with the help of a project called Destricted.  (thanks Clayton Cubitt)

edit (October 21, 2011):  The video I had initially posted has been removed from the interwebs.  If anyone can find even a snippet of it, I’ll post it up here.  In summary, a man covered in green moss, fuzz and dirt (and not much else) is hoisted up in a very special way under a large truck which is suspended in the air and is running.  He proceeds to rub his penis up against the truck’s highly lubricated and spinning white axel.

The synopsis from the Destricted website:

Hoist was shot in Bahia, Salvador as one facet of a longer film titled DE LAMA LÂMINA. Hoist is the literal underbelly of that project: a non-site through which the history, ritual, mythology, and deities invoked in DE LAMA LÂMINA have been refracted and processed. It is a film about the meeting of chthonic libidinal energy and the destructive forces of technology. Hoist describes the encounter between the two central characters of the film; the so-called ‘Green Man’ and a fifty-ton deforestation Caterpillar truck under which he is suspended. Following the three acts of traditional film narrative, it is structured according to the three phases of description, situation and condition. While the initial two phases relate to the definition of Hoist as ‘an apparatus or method for lifting a load and shifting it laterally by an elevating means applied through a support from which a flexible member freely suspends a load engager,’ the third or final condition of the film suggests the imperfect consummation of the human and the mechanistic. Suspended beneath the vehicle the ‘Green Man’ is both part of and subservient to the undercarriage of this vast machine. Yet, like the deity, Ogum to which DE LAMA LÂMINA is dedicated, the sexuality of Hoist is ambivalent. It is an exploration of the idea of the sexual transmission of man and machine, flesh and metal, will and submission for which the film itself becomes an autoerotic vehicle transporting the viewer towards the possibility of such unlikely union. Imagined as the ultimate strap-on, the truck is the physical fetish that allows the expectations of pain, danger and gratification it carries to be transformed into the psychosexual prosthetic essential to all pornographic fantasy.

Of course, I cannot post this video here without a nod to the explorations of symphorophilia (“…a paraphilia in which sexual arousal hinges on staging and watching a disaster such as a fire or traffic accidents” -Wikipedia) made by J. G. Ballard in the early 1970s.  Nor could I leave out the films of David Cronenberg.  Are there any other artistic geniuses who have braved this taboo path?

“Do we see, in the car-crash, the portents of a nightmare marriage between technology, and our own sexuality? … Is there some deviant logic unfolding here, more powerful than that provided by reason?” –J.G. Ballard

A strange technological ballet:

Ballard explored the ideas of human sexual attraction to car crashes before writing his book, Crash.  One study he made was via an art exhibit he installed at the New Arts Laboratory, in London, where he put on display several crashed vehicles.  Cameras with monitors were placed around them so guests could watch themselves strolling around and a woman was hired to walk around topless while interviewing guests about their opinion of the exhibition.

One of the Wrecks Used for Ballard's Exhibtion in 1970

“Nobody would have noticed the cars if they had been parked in the street, but under the unvarying gallery lights these damaged vehicles seemed to provoke and disturb. Wine was splashed over the cars, windows were broken, the topless girl was almost raped in the back seat of the Pontiac (or so she claimed…)…During the month the cars were ceaselessly attacked, daubed with white paint by a Hare Krishna group, overturned and stripped of wing mirrors and licence plates. By the time they were towed away, unmourned, all my suspicions had been confirmed about the unconscious links my novel would explore. My exhibition had been a psychological test disguised as an art show, which is probably true of Damien Hirst’s shark and Tracey Emin’s bed. I suspect it’s no longer possible to outrage spectators by aesthetic means alone. A psychological challenge is needed that threatens one of our dearer delusions, whether a stained sheet or a bisected cow forced to endure a second death in order to remind us of the illusions to which we cling about the first.” –Miracles of Life by JG Ballard

Cronenberg was the perfect person to direct the movie based on Crash.  His Videodrome had already explored similar notions.

James and Catherine Ballard (James Spader and Deborah Kara Unger) Renew Their Love for Each Other in Cronenberg's Crash

Gabrielle (Rosanna Arquette) Tries to Get Into a New Car in Cronenberg's Crash

Gynecological Tools from Cronenberg's Dead Ringers

The typewriter's asshole in Cronenberg's Naked Lunch

I will leave you with a bit of Videodrome:



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