The Unexamined Brutality

The Unexamined Brutality (of the male Libido), 70 x 50 cm, Oil on Canvas

This painting seems to hark back to times when the male libido was seemingly more unabashed and comparative innocence (or unabashed guilt) reigned the abusive intercourse between the sexes. The aesthetics are reminiscent of surrealist inspired propaganda imagery. Phallic forms abound. One sea shell stands, or lies, in lieu of the womb. One could argue that the central phallic form of the outer shell of the engine’s boiler is actually esemplastic in not only being the threatening phallus, but also the tubular receptacle hollowness, awaiting the phallic thrust of another longish form entering (see the old chuckle arousing locomotive/tunnel imagery). The ?-voiced Commentator “ex”plains: seeming nostalgia for simpler times does not thinly veil, but starkly outline the fact that we today live in the age where all old violence and abuse bears fruit. The true objectification of the woman takes place in the immediate future which is our presence. Groping will soon be replaced by more sophisticated (and cowardly) methods of abuse. Think about artificial intelligence being furnished with female faces, names, voices. Some are discussing whether these undead freaks should be taught to give more assertive responses to weather queries mixed with risqué innuendo and sexual abuse. Few discuss who decided that “virtual” assistants need female voices and whether it is not a very small step for the brutality of the male libido to then confuse the (universal) assistance offered with the liberties allowed by sex-slavedom.

Observe the more hopeful aspect of the depicted scenery, embodied by a disinterested spectator, a floating space vehicle in the rose tinted sky, watching the travesty on the ground with detached amusement. Maybe the dream of space insemination is not so very unbrutal. The shape and form of the device and its detachment, however, might be. The utopia offered by space.
Future © of this nostalgia-tinted painting by Torsten Slama and the Instrumentality of the Model Railroading Board

Anti-Nationalist Church Feetze, Altmarkkreis Salzwedel

Anti-Nationalistic Village Church Feetze, Altmark Salzwedel District, with 1923 BMW R32 Motorbike (A3: 29,7x42cm)

This village church situated in an agnostic district of Germany is run by a renegade protestant woman priest who announces her progressive leanings by parking her vintage motorbike in front of said church. Said priest also commissioned a local plastics manufacturer with the manufacturing of an extremely lightweight acrylic air sculpture, fastened so to the church steeple as to appear weightlessly floating. The four tubular devices, dyed with a modified e-ink and radium amalgam, can be triggered electronically to interact on a high frecency level and assume any colour in the standard CMYK realm. Thus, all types of national and organizational flags and heraldic symbols can theoretically be rendered. The air sculpture transforms the static nature of individual national and political colour designations into something infinitely flexible and transmogrificational. On a symbolical level, the church thus signals itself to be out of bounds, truly international, anti-segregational. Only on this politically, culturally, and geographically nullified level, it can function as a place from which world-healing words, deeds, and thoughts emanate. The church buiding itself is severely threatened in its structural integrity by dry rot, mould infestation, and plaster falling from the ceiling into the mouths of the singing or open mouthed sleeping congregation. The free floating energy it constantly produces is exposed to dangerous channeling efforts through various world-heritage conservational programs and covert financial support by the EKD (German Evangelical Church), trying to reintegrate it into the standard top-down approach to organization which traditionally renders all human interaction into potentially violent and pressurizing attempts at domination. The aforementioned woman priest has announced a public self-immolation in front of the church at some unspecified point in the near future to protest against all forms of government, church, and political interference.
© 2017 Torsten Slama and International Publications Organisation World Wide

Women’s Medical Centre with First Motor Driven Vehicle

Women’s Medical Centre with 1886 Benz Patent-Motorwagen by Rheinische Gasmotorenfabrik Benz & Cie. (Pencil, coloured pencil, acrylics, shellack. A3, 2013)

Depicted is a medical centre exclusively for women, offering medical treatment for diseases of the female genital apparatus and applications of advanced pro-choice technology. The Benz three-wheeler parked in front of the clinic is a permanent installation reminding of a period where men were still relatively unchallenged in their claim over the field of artificial invention, as opposed to “natural” creation, the female secret, Bachofen’s swampland of unlimited fertility.

The staff of the medical centre elected to dedicate their institute to the renowned Scottish electrical engineer and laser scientist A. Catrina Bryce. The official designation for the institute is thus: Women’s Medical Centre “Ann Catrina Bryce”. A schematized, floating model of the laser was chosen as the sign of the centre, at night emitting a beam searching the night sky, reminding the nearby female population of the fact that now women are in control of phallic technology, putting it to empowering pro-choice use in advanced abortion procedures and the use of carbon dioxide (CO2) laser beams to vaporize abnormal cervical tissue. The spiral shape of the laser emitting beacon refers to one of the oldest symbols concerning everything anti-phallic, also alludes to contraception via Intrauterine-System (IUS), or Hormonic Coil.Illustrative sketch and explanatory note © 2013 by Torsten Slama