Galerie Valerie Cueto

10-12, rue des Coutures Saint-Gervais
F-75003 Paris

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artist / participant

press release

Dearest Victims, Feminism is no longer haunted by the media and technologies, but rather employs them to construct individualism and herstory. Therefore the media no longer manipulates the self. It is a result of choice (fashion as language). What I like to call a Pleasure Victim.

I work with Digital Media, and this field is mostly inhabited and practiced by males. I choose this medium not for its mastery of creating simulated realities, that is too Masterful for my needs, and I leave that to the masters. I am a woman coming to Technology. My curiosity in this field is more like a neo-alchemist. My way of practicing this medium is not to compete with Hollywood, or the Media, this is not a critique of an economic institution. I use fragments of this whole digital landscape before me to attempt to define the conventions and properties of traditional femininity to myself; according to my own terms, my own pleasures and desires, my own interests, in my own way. In this global-solitude I encounter online, I, as subject become fulfilled by the self-objectification of I/myself.

I take and consume all that this medium gives; information, real-time communication, global community and consumerism, and most important to me, a spectacle of imagery to be downloaded at my whim. I exit that digital highway portal and still in the same space/box as to where all this information is now downloaded to (my desktop), I start to manipulate my fragmented discoveries. My tools (software) reshape and form a new meaning of this acquired information.

In the chatrooms or Video Cam I type out sexual words, to bring language sexually is to experience language to its fullest (Foucault). As if language could have a Juissance, or I Juissance through language. Roland Barthes in 'A Lovers Discourse' written in 1977 creates a discourse of desire by fictionally creating a lover (subject) speaking to himself in the 1st person (without an Object). His structure of the book best declares what I first encountered back in 1996 and still to the present. What it’s like to chat online:

Language is a skin: I rub my language against the other. It is as if I had words instead of fingers, or fingers at the tip of my words. My language trembles with desire. The emotion derives from a double contact: on the one hand, a whole activity of discourse discreetly, indirectly focuses upon a single signified, which is 'I desire you," and releases, nourishes, ramifies it to the point of explosion (language experiences orgasm upon touching itself); on the other hand, I enwrap the other in my words, I caress, brush against, talk up this contact, I extend myself to make the commentary to which I submit the relation endure.

Digital culture as a semantic double of life. The idea of transference and counter-transference (Lacan) is similar to what is experienced online. Communicating in real-time (with an invisible partner) demands its compliment. That means that text and image and meaning is transferred, negotiated, so that the subjects that writes is created by the subject that reads, and vice versa. I read myself into you, thus yourself into me, and I thus re-read you and so on.

The act of transferring my personal collective information onto your social space (the gallery) plays an important role as it corresponds to a displacement of emotions, both yours and mine. Desire itself often amorphous, I speak of sexual encounters that are distant and disembodied. What is to be said of Languor, of the Image, of the Love Letter, since it is the whole of the lover's discourse, which is woven of languorous desire, of the image-repertoire, of declarations? My dialogues are not appropriated but stems from real life experience and engagement. I bring you forth my visual transformations via digital images and text.

Let me introduce someone you know well, The Pleasure Victim.

Kiki Seror, 2004


only in german

Kiki Seror: Pleasure Victimes - Fragments d'un discours érotique