Paul Chan, "Long Live the New Flesh"
As a special incentive for one generous donor, we are thrilled to offer "Long Live the New Flesh" (2007), a unique 53 x 53" ink-on-styrofoam drawing by Paul Chan. Chan is widely known for his 2007 plein air production of Samuel Beckett's "Waiting for Godot" in post-Katrina New Orleans, which Holland Cotter praised in the New York Times as "a species of political art, one that enlarged and united both halves of that disparaged despaired-of term." Archival materials from the production are currently on exhibit at the Museum of Modern Art in New York City.
"Long Live the New Flesh" takes its title from David Cronenberg's 1983 film Videodrome, while the peaked human silhouette recalls the famous "Hooded Man" photograph from Abu Ghraib prison. By drawing a connection between the notorious photograph and Videodrome's viewer-hungry cable executive Max Renn (James Woods), Chan implicates the media that promulgated the startling imagery from Iraq and scopophilic viewers who consumed it.
Chan's other works include "The 7 Lights", seven digital projections of floating silhouettes shown at the New Museum in 2008, and Phaedrus Pron, an edition of Plato's dialogue in specialized fonts that transform individual characters into four-letter words, published by Chan's Badlands Unlimited imprint.