It happens everyday to many people women and men and it seems it has almost become a social phenomenon that is not even considered outrageous anymore as we are so domesticated to pornography that we tend to forget it is eventually a harassment what we are talking about. When telling people about that I realized just a few of them took what was happening seriously.
Most of them joked about it as this was not a serious matter. It happens daily to so many people, men and women, and it seems to have become a social phenomenon that hardly causes a stir since β being so used to pornographic images β we forget that photographs and videos of this kind are, on closer inspection, real sexual harassment. If we watch the 46 videos one after the other, in an ongoing and exhausting marathon that penetrates the linguistic possibilities of the contemporary lexicon of desire, we are led to wonder β as we feel intensely destabilised β if the Author of this body of works is actually an Artist, or a common stalker.
The monotony of the set-up, the repetition of the act, the predictability of coitus would all take shape as acts and signs handy for a shift in thought which aims to lead the conversation towards its most drastic consequences. That is, viewing these videos as works of art because, ultimately, such is the art market in the era of hyper-technological capitalism: new devices, social media, sex.
Thus, the Artist finds himself staging and criticising the very System in which he acts. After all, he lives anonymously, like a common stalker, limiting himself to sending his works to private addresses, as if they were the streets of a residential area and he were a graffiti artist ready to mark its walls with his strokes.
His name no longer matters; anonymity is a protective shield, capitalism keeps finding new ways to create profits. However, we still need to ascertain just what the Artist is communicating, and to whom. What we are shown in each of the 46 works is the flaunted exposure of his sex β clenched, crushed, shaken, enclosed in a suffocating shot that creates a pained picture which, as Giovanni Lindo Ferretti would say, represents Β«a sad erection, for a humble and harassing coitusΒ».
