8. No Way Out: Art for Art’s Sake
Mariana sent Monica to bring the next reporter through. “Thank you, Monica. And who are you, and who do you work for?” she asked the petite blonde girl. The girl looked far too young to be working for a serious journal.
“I’m Jenny Smith from ‘Art Review’, Ms Abramopov,” said the girl.
Mariana was pleasantly surprised. So young. So pretty. “Mmmm…… Jenny Smith? Ah yes, didn’t you write that splendid piece on Jules Mahrute?”
“Yes. Do you mind if I record?”
“Not at all, my dear.”
Jenny turned on her hand held recorder. “Can you tell me, Ms Abramopov, about your new show and its provocative title?”
“I have been planning this show for a long time. It seemed like a natural follow on from my last show, ‘Erotic Journey’. This will also be a show that will be easier to tour.”
“And its title…..?” queried Jenny.
“It’s a rebellion against the male dominated, formal art Establishment. I call it ‘Cunt’ because I feel it dares to utter and evoke the female condition of so many women. In an epistemiological sense, a woman’s cunt can define the role of a woman; it can also mis-define. It is both a symbol of her oppression through history and her way of expressing herself. It is a source of both her weakness and her power. Her menstrual cycle shows her alignment with the lunar cycle and fixes a woman’s attachment to the Lunar Goddess who oversees all womankind. A woman’s fertility both empowers and enslaves her. A woman’s period is one of the original causes of sodomy in the human species. The first woman would have been sodomised by the first man when she was having her period. Adam would have sodomised Eve. It’s only after their offspring matured that the beauty of the arrangement will have become manifest. Mankind is one of the few species that makes use of the secondary route; its availability liberates both men and women. Men can experience what it is like to be a woman, or what it is like in between. This show demonstrates that we are all, each and every one of us, Cunts.”
“There is a difference in this show though in that you will not yourself, be one of the exhibits, Ms Abramopov.”
“Not at all, Ms Smith, or can I call you Jenny? Unlike my other shows, I will not be a fixed exhibit, but I will be present and perform at all my showings. I will be wearing this outfit and walking round the gallery. I have particularly chosen to wear this cashmere jacket from Ralph Lauren coupled with a pair of JaneStyle latex pants from Bergman and Knightley, and a pair of Louboutin SoKate 120s. I carry a matching shiny black Yves St Laurent handbag. Each of the four items embody style, luxury and feminine sexuality.”
“I certainly love your pants and your heels,” said Jenny.
“They help me exude the mystery of the femme fatale or the Mistress. They signify the allure and power of the Dominatrix and express the freedom and supremacy of women today in our continuing fight against the patriarchy. I will also be wearing a BumbleBee Egg from Bergman and Knightley.”
“An egg?”
“Yes, an egg. A vibrating egg. The egg will be timed to vibrate every thirty minutes for five minutes.”
“Won’t that be uncomfortable?”
“Not at all. My art shows that it is the true route to pleasure. In Gallery 1, I will masturbate ……”
“Masturbate!?” interrupted Jenny.
“Yes, masturbate. Do not be shocked, Jenny. It is an act as old as Eve. Every hour, on the half hour, I will masturbate by rubbing my crotch while looking at the one of the pieces on display, pieces that show the female gaining satisfaction in the way that the Lunar Goddess intended.”
“These are the portfolio pieces, the photographs that you call …..”
“That I call ‘Cunt 1: Wet. All the girls that ever fucked and sodomised me.’’
“Isn’t that rather derivative of Emma Tracey’s work?”
“Not at all. With her “All the sissies that ever fucked me’, Emma is just being an exhibitionist. There is no spirit or passion behind the work. There is no message except Emma’s own self-absorbed fixations. In ‘Cunt 1: Wet’, I am showing femininity as a source of power. The lady is not being fucked by men. She is being penetrated by girls. Fucked by girls. Sodomised by girls. Girls with cocks. Men as they should be if we all followed the Lunar Goddess: men feminised and serving the female as equals. Men behaving as girls, succumbing to their own lusts and pleasures with their colleagues when the lady is not available. Men performing an act that used to be illegal even in your enlightened country. An act that conventional religion has condemned since antiquity and many counties still consider illegal. In contrast, the Lunar Goddess endorses a source of please that brings equality and sharing between the sexes. Men and women alike can partake of the same wonderful experience. There is no stigma, only joy in such exchange and role reversal. While observing ‘Cunt 1’, I will masturbate while receiving anal stimulation from my BumbleBee in celebration of the ancient ways of bringing pleasure and equality.”
“Oh!” said Jenny, taken aback. “I see. Moving on, your second gallery, somewhat confusingly titled Gallery Zero, is simply a white space, empty except for a white sink and a white shelf with transparent glass jars.”
“Exactly. It’s a deliberate contrast to Gallery 1. It’s why I call it Gallery Zero. The empty space is an entirely new work, ‘Cunt 0: Absence of Cunt’. In the same way that John Cage showed the hypocrisy of audiences and their oppression of musicians, I highlight the Patriarchy’s hypocrisy and oppression. The empty white room’ of ‘Cunt 0’ represents the toilet where men retreat for their solitary pleasures. Practising their self-abuse is an insult to women. Adam will have masturbated when Eve was having her period before he learned to sodomise her. Self-love excludes the love of others. It is exclusive rather than inclusive. The Lunar Goddess believes in the love of all. ‘Cunt 0’ is therefore intended to be a participative piece of art. Male visitors will be invited to live out the stereotype of male corruption and become part of the show. They can even contribute permanently to the display, should they choose, by adding to one of the jars. All will be able to observe the wasted fertility and energy. True performance art for the masses and their messes.”
“Gosh! And will you perform in this space?”
“No. It would destroy Cunt Zero’s message of toxic masculinity. I will stage my next performance and appearances in Gallery 2. Every sixty minutes on the hour, I will put on a strapon and masturbate in front of the piece before me.”
“Masturbate? A strapon?”
“Yes, I will stand and stroke the strapon while standing before my latest work. In protest against the display in Gallery Zero and egregious masculine conduct, I will wank the cock to represent the degenerate, oppressive behaviour of the Patriarchy towards womankind.”
“The controversial exhibit that you call …..”
“That I call, ‘Cunt 2: Dry Chastity.”
“And it’s with a live model, I understand. Does she have a name?”
“Probably yes, but it that’s unimportant. It’s the message the work sends that is important.”
“And that message is……?” asked a perplexed Jenny.
“That submission to the male is passé. Subservience to the male is finished. Women are liberated to live the lives we choose. We are free to make choices but continue to be imprisoned by society’s straitjacket. The piece symbolises a woman’s struggle to free herself from these bonds. It symbolises devotion to the Lunar Goddess. It demonstrates the highest form of feminine liberation: her preferred and chosen devotion is to me, the Artist, her creator and salvation, the owner of her debt. While she is fastened to the wall, I, of course, am the true centrepiece of my expedition. She is encased and helpless, while I am free. My strapon will squirt and ejaculate over the latex covering of ‘Cunt 2’ as I reach peak arousal from my BumbleBee.”
“And the title?” asked Jenny, still none the wiser.
“Her encasement in latex symbolises her perpetual struggle to free herself from her earthly constraints. Her cunt is empty. Her arse is empty. She can hear us now: her only hope is that I will release her and fuck her.”
“And the model understands this?”
“Of course. What was important to me was that she be a professional. A woman of intellect and beauty. It is vital to the integrity of the piece. If she had been a hired, willing model then the theme of removal of power would have been dulled.”
“And I am right in thinking that the same woman features in the photographs that make up the majority of the exhibit in ‘Cunt 1: Wet’ in Gallery One?”
“That is correct.”
“Is it important that it is the same woman?”
“Yes. ‘Cunt 1’ is an expression of naïve freedom. A woman may lead her life in the way she chooses. But even within that freedom, she remains trapped within our expectations. The women still receives. She does not own or control the girls. She submits to her own lustful desires. She still serves and worships cock rather than the Lunar Goddess. ‘Cunt 2’ shows her path to enlightenment and a maturity of purpose. The absence of cock is liberating her to recognise her true female self. It’s why it’s so important she can hear us talking now.”
“So this is her choice?”
“Yes, but she has no option. She has a debt to pay. To go from a position of trust and strength, to being a mere item, a work of art admired for its beauty alone, is quite a thing.”
“So do you own her?”
“In a sense yes. She has a debt to pay. A debt to pay for herself, a debt to pay for being a woman, a debt for yourself, a debt for all womankind who do not yet serve the Lunar Goddess. A serious debt. I own her debt. I control her debt. I am the salvation for her debt. Her body is trapped in a latex vacuum with just enough air to breathe. She knows her past misdeeds. This is why she is chaste. I, the Artist, decide that she be chaste. You can see her writhe within her bonds, her cunt yearning for pleasure in her delicious cocoon but forever deprived. Her arms imprisoned by her side not even allowing her to pleasure herself. She will hear me when I masturbate my strapon in front of hear each hour. I have the freedom she craves. While paying her debt, she symbolises the deprivation and subservience that women have experienced through the ages. Only by ascending the Gynarchy and serving the Lunar Goddess can she hope to escape her bonds.”
“I see,” said Jenny, still entirely baffled. “And please tell me about Gallery Three. I understand that it’s still being set up.”
“Yes, let’s walk through. We are fortunate to have the piece on loan from a great friend of mine, Pamela Vantari. It’s been shipped with the help of Bergman and Knightley who are also the Sponsors of this exhibition. We have only just received delivery from Shanghai and have been uncrating, lubing and hydrating the exhibit this morning.”
“Hydrating?” queried Jenny looking at the shiny mannequin.
“Yes, hydrating. There is a living boy inside the casing.”
“A boy!!? And what do you call this exhibit?” asks a shocked Jenny.
“I call it ‘Cunt 3: Boy’.”
“And how does it fit with the theme of the Exhibition? I note that the boy is wearing high heels,” queries Jenny, trying to move the interview to safer ground.
“It shows the future of mankind, by which I mean the future of masculine kind. If we are to going to colonise the moon, colonise Mars, this is how the men must be. We should go in peace. Women do not create wars; Men create wars. High heels are now longer a symbol of oppression but of liberation. His heels show he has accepted his subservience and willingness to embrace his femininity.”
“And does the mannequin have a name.”
“Yes, but it has been lost. Deliberately lost. Forever, he will be ‘Cunt 3’. The man of the future.”
“And will you be performing in Gallery 3.”
“Yes, but only after the Gallery has closed. ‘Cunt’ is intended to fuel visitors’ minds and imaginations and provide them with a future vision. Visitors will be able to meditate on what I do with ‘Cunt 2’ and ‘Cunt 3’ after the Gallery has closed each evening. A select group of my Sponsors will join me as we celebrate the Lunar Goddess.”
“Thank you, Ms Abramopov. That has been most enlightening. I’m sure our readers will be interested to learn about ‘Cunt’ in our next edition.”
“Not at all my dear. Here, take my card. Do you have a telephone number? I will be having an evening soirée after the Official Opening with drinks and a private of tour of the gallery. You will get the chance to ‘meet’ the exhibits in person. I do hope you will be able to join us. Or perhaps you’d like to stay on now? We can talk some more and maybe you’d like to come back to my apartment after we’ve settled ‘Cunt 3’? I already have plans for ‘Cunt 4’.”
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