In 1974 was Marina Abramovic to investigate this link between body and art with Rhyth, 0. In the piece, the audience was given instructions to use on Abramović’s body an array of 72 provided instruments of pain and pleasure, including knives, feathers, and a loaded pistol. Audience members cut her, pressed thorns into her belly, applied lipstick to her, and removed her clothes.
Decades after, spanish stylist Laura N. Del Arco’s pieces reinvoke the same idea: the body is art. A finished piece of art. Or an artistic support for further creation.
The concept on which her collection is based is the adaption of languages and techniques that are normally used in art and their conversion into fashion.
The body becomes a canvas, a pictogram that you think cannot represents anything else other than a human being, while, instead, it does. It’s an idea: the idea of someone, the idea of beauty, empathy and conversation between the public and the artist.
And what you geti s just a magnificent dystopia.