DOI Artikel:
Leszkowicz, Paweł: Nienaturalna selekcja: interpretacja intertekstualna "Unnatural Selection" Helen Chadwick
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.14244#0188
182
PAWEŁ LESZKOWICZ
HELEN CHADWICK'S "UNNATURAL SELECTION"
S u mmary
This text is a record of an inter-textual interprétation of a séries of the photographs titled "Unnatural Sélection" (1995/1996)
by a British artist Helen Chadwick (1953-1996). It is an attempt to apply an inter-textual method towards criticism of modem art,
and at the same time to outline a theoretical reflection on enigmatic nature of a visual présentation and its conséquences. Inter-
textualism as method is based mainly on the Julia Kriesteva's théories of inter-textuality, introduced for the first time in 1969 in her
book Séméiotiké. The author of this essay endeavours to demonstrate an affinity between the philosophical and literary though of
Kristeva and the artistic project of Chadwick.
In her latest, exhibited after her death, séries of "Unnatural Sélection" Helen Chadwick photographed dead pre-embryos,
laboratory waste of the procédure of in vitro fertilisation, in accordance with légal régulations concerning the limits of artistic
research into fertility technology. The représentations of pre-embryos Chadwick decorated by layering the visual conventions,
entangling microcellular images with a network of inter-textual relations. The analysis aims at decoding employed by the artist play
of cultural signs that encompass such sphères as the médical conventions of imaging, the techniques of in vitro fertilisation,
Victorian mourning rituals and jewellery, the theory of évolution, historical and modem debates on fertility, the tradition of still life,
visual anthropology, aesthetic cannons and emblematics. In effect accomplished by the artist semantic explosion emanating from
the complex photographie compositions portrayed, problematised and intensified the scientific procédures of a look at organism at
its primary, embryoid level of existence. This intersection of the différent narratives gives a work of art the character of enigma
leading in diverse directions which cannot be constrained or stabilised. The enigma structure allows thèse photograms to avoid
unambiguity, opening a polyphonie diffusion of sensé. In case of the images concerning the problematic issues dealing with fertilisation
technologies the application of multiple narratives function as defence against appropriation by the scientific or ideological authorities
that claim rights to absolute truth. And in this very aspect of restraining the authorities inter-textuality as a strategy of communication
exposes its revolutionary potential affirmed by Julia Kristeva. The philosopher perceives a text not in a state of closure but création:
the ideas are not given as done and completed, ready to be consumed, but are presented in a way that is to encourage the audience
to enter a création of meanings instead of just assuming one of the already made ones.
The Kristeva's concept is connected with a critique of political ideologisation, where the objects have to be clearly defined
and designed for quick sale or manipulation. Applying this idea to the sphère of Chadwick's photography and "visual thinking" we
can say that in case of such controversial discipline as embryology to confine oneself to unambiguity and to censor the discussions
questioning and revealing doubts would be particularly hazardous. For the "Unnatural Sélection" confronts contradictory attitudes
towards the procédures of artificial insémination, fertility control, and scientific intervention in identity. The artist emphasises
a polyphony by layering the numerous cultural phases and historical interprétations, revealing a relativism of ideological appropriations
of the controversial subject matter.
The philosophy of Julia Kristeva cornes out against an unquestionable authority in the name of plurality of meanings and
values. Her dynamie openness in Chadwick takes an ethical character through the disclosure of a multidimensional perspective in
times when we are on the threshold of a new scientific révolution. The dialogic force of culture in Kristeva breaks a political
totalitarianism, and in Chadwick aims at universalistic claims of science.
The author of the article attempts to demonstrate how Helen Chadwick - through the cultural analogies - makes an alternative,
more complex hierarchy of values. He also stresses an ethical aspect of the réalisation, though far from didactic or moralistic
diagnosis. The artificially made, détective embryos are subjected to the visual reconstruction that differ from the objective system
of values attributed by the science to the forms of life which in Chadwick's compositions obtain a new subjective status - in
accordance with the inter-textual process where the transition from one system of signs to the other is connected with exceeding
the former position and establishing a new one. It means that a work of art does not simply make use of the former textual objects
but it transforms them and introduces on the new stage. The abandonment of the former system of denotation and articulation of
a new présentation is a basis for an inter-textual transposition.
Through the inter-textual potential of the "Unnatural Sélection" the artist provokes a confrontation between many discourses
relating to the biotechnological interventions into fertility. Her compositions form a plane of discussion, of clashing différent
opinions (both cultural and scientific) rather than merely offer an unambiguous diagnosis. The polyphonie sensé of the séries is
rooted in the very ambiguity, multitude of connotations because this pluralism exceeds a médical routine which seems to entrap
médical knowledge itself. In this case the post-modernist eclecticism, the play of signs, are given an ethical dimension, become
a source of sensé and depth, and not a meaningless manipulation.
The works of Helen Chadwick participate also in the act of commémoration and mourning for the unsuccessful genetic
remains of in vitro fertilisation, and as such are dedicated to the donors of ovum and semen. Her project in this aspect has got
a more elegiac and cognitive than expérimental or controversial character, and the artist's ego does not occupy a central place as
she created on commissions of the "Arts Catalyst" organisation in order to heighten public awareness of the complexity of artificial
insémination procédures which, though normalised, still présent an important ethical problem within medicine itself (especially the
title mechanisms of an embryo sélection). The inter-textuality discloses itself as an inner philosophy of Chadwick's works in the
three parallel aspects: compositional, intellectual, and ethical.
Transiated by Grażyna Waluga
PAWEŁ LESZKOWICZ
HELEN CHADWICK'S "UNNATURAL SELECTION"
S u mmary
This text is a record of an inter-textual interprétation of a séries of the photographs titled "Unnatural Sélection" (1995/1996)
by a British artist Helen Chadwick (1953-1996). It is an attempt to apply an inter-textual method towards criticism of modem art,
and at the same time to outline a theoretical reflection on enigmatic nature of a visual présentation and its conséquences. Inter-
textualism as method is based mainly on the Julia Kriesteva's théories of inter-textuality, introduced for the first time in 1969 in her
book Séméiotiké. The author of this essay endeavours to demonstrate an affinity between the philosophical and literary though of
Kristeva and the artistic project of Chadwick.
In her latest, exhibited after her death, séries of "Unnatural Sélection" Helen Chadwick photographed dead pre-embryos,
laboratory waste of the procédure of in vitro fertilisation, in accordance with légal régulations concerning the limits of artistic
research into fertility technology. The représentations of pre-embryos Chadwick decorated by layering the visual conventions,
entangling microcellular images with a network of inter-textual relations. The analysis aims at decoding employed by the artist play
of cultural signs that encompass such sphères as the médical conventions of imaging, the techniques of in vitro fertilisation,
Victorian mourning rituals and jewellery, the theory of évolution, historical and modem debates on fertility, the tradition of still life,
visual anthropology, aesthetic cannons and emblematics. In effect accomplished by the artist semantic explosion emanating from
the complex photographie compositions portrayed, problematised and intensified the scientific procédures of a look at organism at
its primary, embryoid level of existence. This intersection of the différent narratives gives a work of art the character of enigma
leading in diverse directions which cannot be constrained or stabilised. The enigma structure allows thèse photograms to avoid
unambiguity, opening a polyphonie diffusion of sensé. In case of the images concerning the problematic issues dealing with fertilisation
technologies the application of multiple narratives function as defence against appropriation by the scientific or ideological authorities
that claim rights to absolute truth. And in this very aspect of restraining the authorities inter-textuality as a strategy of communication
exposes its revolutionary potential affirmed by Julia Kristeva. The philosopher perceives a text not in a state of closure but création:
the ideas are not given as done and completed, ready to be consumed, but are presented in a way that is to encourage the audience
to enter a création of meanings instead of just assuming one of the already made ones.
The Kristeva's concept is connected with a critique of political ideologisation, where the objects have to be clearly defined
and designed for quick sale or manipulation. Applying this idea to the sphère of Chadwick's photography and "visual thinking" we
can say that in case of such controversial discipline as embryology to confine oneself to unambiguity and to censor the discussions
questioning and revealing doubts would be particularly hazardous. For the "Unnatural Sélection" confronts contradictory attitudes
towards the procédures of artificial insémination, fertility control, and scientific intervention in identity. The artist emphasises
a polyphony by layering the numerous cultural phases and historical interprétations, revealing a relativism of ideological appropriations
of the controversial subject matter.
The philosophy of Julia Kristeva cornes out against an unquestionable authority in the name of plurality of meanings and
values. Her dynamie openness in Chadwick takes an ethical character through the disclosure of a multidimensional perspective in
times when we are on the threshold of a new scientific révolution. The dialogic force of culture in Kristeva breaks a political
totalitarianism, and in Chadwick aims at universalistic claims of science.
The author of the article attempts to demonstrate how Helen Chadwick - through the cultural analogies - makes an alternative,
more complex hierarchy of values. He also stresses an ethical aspect of the réalisation, though far from didactic or moralistic
diagnosis. The artificially made, détective embryos are subjected to the visual reconstruction that differ from the objective system
of values attributed by the science to the forms of life which in Chadwick's compositions obtain a new subjective status - in
accordance with the inter-textual process where the transition from one system of signs to the other is connected with exceeding
the former position and establishing a new one. It means that a work of art does not simply make use of the former textual objects
but it transforms them and introduces on the new stage. The abandonment of the former system of denotation and articulation of
a new présentation is a basis for an inter-textual transposition.
Through the inter-textual potential of the "Unnatural Sélection" the artist provokes a confrontation between many discourses
relating to the biotechnological interventions into fertility. Her compositions form a plane of discussion, of clashing différent
opinions (both cultural and scientific) rather than merely offer an unambiguous diagnosis. The polyphonie sensé of the séries is
rooted in the very ambiguity, multitude of connotations because this pluralism exceeds a médical routine which seems to entrap
médical knowledge itself. In this case the post-modernist eclecticism, the play of signs, are given an ethical dimension, become
a source of sensé and depth, and not a meaningless manipulation.
The works of Helen Chadwick participate also in the act of commémoration and mourning for the unsuccessful genetic
remains of in vitro fertilisation, and as such are dedicated to the donors of ovum and semen. Her project in this aspect has got
a more elegiac and cognitive than expérimental or controversial character, and the artist's ego does not occupy a central place as
she created on commissions of the "Arts Catalyst" organisation in order to heighten public awareness of the complexity of artificial
insémination procédures which, though normalised, still présent an important ethical problem within medicine itself (especially the
title mechanisms of an embryo sélection). The inter-textuality discloses itself as an inner philosophy of Chadwick's works in the
three parallel aspects: compositional, intellectual, and ethical.
Transiated by Grażyna Waluga