Monday, January 20, 2020

Ghislaine Leung at Künstleraus Stuttgart


So the point intended,
1. The continual retelling (1 novel, 2 films, 3 made-for-tv movies) of The Stepford Wives is evidence of the films resonance, to a common cultural fear: suspense/horror story of human subjectivity molded to robotic subservience.

2. This fear, plotted during a time of accelerating convenience of "modern miracle" kitchens, is predicated on a subconscious understanding that we are in some way socially reproduced by the objects around us. As our kitchens become increasingly convenient so too we will need to become convenient: the level of pleasance required around our tyrannical-husbands we intuit is in direct correlation to the level of convenience of everything surrounding us. As the world become more convenient, as kitchens threaten to replace cooks, as what we provide is continually warned to be replaceable, we must increasingly match the ease of the others/objects who threaten to replace us, and we adopt an unnatural pleasantness. This is implicit fear of the film.

3. Commodities by nature limit individual expression, and we are molded to their voice. We become subservient to what the commodity can allow us. So you join in choir with all the others who purchased their employer/partner a mug singing "THE BOSS." The commodity turns the world into a cartoon, slapstick, as everything becomes exchangeable, the backgrounds getting more repetitive in a drive towards efficiency. The cartoon, slapstick, rendered in the real is gore.

4. Leung's Hugo Boss sterility is a suburban horror movie.