THE BODY THAT ARE THE SCANDAL
In this performance, the political scandal is not narrated — it is consumed.
Drawing on the media spectacle surrounding Bill Clinton, Monica Lewinsky, and the constructed public body of Hillary Clinton, the work shifts the focus from event to digestion. What was once discourse becomes substance.
The painted female icon — distant, sanctified, almost untouchable — is confronted with a body that leaks, spills, and exceeds its own boundaries. Red matter, food, and fluids collapse the distinction between inside and outside, intimacy and spectacle, control and exposure.
Here, scandal is not an exception but a system of circulation. It feeds on bodies, and in turn, produces them. The audience does not stand outside this process: it consumes and is implicated in the act of looking.
The performance unfolds as a ritual of excess. Gestures of care turn into gestures of violation; nourishment becomes saturation. The body is staged as a site where power is not only represented, but materially enacted.
What remains is residue.
A stain that cannot be resolved into narrative.
A body that has already been consumed.
