|onone - affirmatio|
Affirmatio is the name of the installation, in which another Onone, who is also arranged upon a silver podium, gazes into a mirror, a classic atribute of Venus, assuring itself of its bisexuality. Or Onone is shown from the side, sitting with drawn-up knees, its grandiose and grotesquely long penis building the base of the knees triangle. In both images. Onone seems withdrawn into itself, fully engrossed in the gaze directed at its resplendent hermaphroditic genitals or completely absorbed in concentration on the overly extended penis, which forms the body into a pyramid. Without a doubt, the phallus is here the 'master trope' (Paul de Man), without which affirmation would be impossible. Affirmatio is here nothing other than self-affirmation: the hermaphrodite needs no communicatio. Androgyny is stricktly asocial. It is a differentation within itself and needs not refer to an other or an outside of itself for self-identification. Androgyny is the methical dream of absolute self-reference turned sexual. This self-reference would be barren, if its bisexuality didn't create something similiar to an internal polarity, a tension holding it upright like a perpetuum mobile. The permanent auto-arousal is an eternal baptism of the self in itself, a final absence of need, dependant on nothing and on no one. It is a yearning that never reaches aoutside itself for something else, but circles in intself. In short, it is a whole that exists in itself. Here, one recognizes that exists in itself. Here, one recognizes that Affirmatio, as well, is an allegory of the autonomous work of art. Its radical self-affirmation is a radical negation of everything not itself. The hermaphrodite is the mythical form of the work of art.
Journey into the body. The art of Alicja Zebrowska