The Disturbing Desires of Hans Bellmer and the Disarticulation of Wireless Electromagnetic Assault Torture
It was worth all my obsessive efforts when, amid the smell of glue and wet plaster, the essence of all that is impressive would take shape and become a real object to be possessed.” ~Hans Bellmer, “Jeux de la Poupee" (Games of the Doll, 1935)
Recently, this year, I have experienced something new with the phenomenon of wireless targeted electromagnetic frequency assault torture. I noticed that the signal that attaches to my body in my lower right lumbar region is effecting my movement and locamotion. The signal causes my right hip to make frequent “cracking" sounds and also forces my right leg’s movement from a straight forward position to become turned outward, toward the right, so that my toes are facing to the right rather than straight forward and my inner arch is facing straight. This causes me to stumble and trip and to possibly fall down.
In analysis of this new experience, I can use the artwork of Hans Bellmer and the creation of his doll to forensically analyze the unanalyzed unconscious fantasies in the mind of my perpetrator(s). I have said, and it is my belief, that one of the perpetrators’ wishes is to create remote control humans. We are moving forward in technology and one where wireless machine-computer interfaces are being implanted in human test subjects for improvements in quality of life. But, has anyone stopped to think about how these new “miracle” technologies will adversely effect human populations and how it will be used against them?
Possession of the Female Body in Hans Bellmer’s Artwork and in Wireless Electromagnetic Assault
It has been said the fragmented nature of Hans Bellmer’s artwork is central to his exploration of the female body. He assembled and disassembles the dolls limbs, often removing the head, the breast/torso region, limbs, and feet. This approach to manipulation of the female body reflects Bellmer’s belief that the female body is a malleable and disjointed entity. Thus, he challenges the idea of the female body as a unified and whole form that is separate from perfect human form. In essence, imperfect, fragmented, and disarticulated.
This represents a forensic personal commentary on the objectification of women and the reduction of their bodies to fetishized parts. This same forensic commentary could be said about B2E, the fetishized sexual fantasies of body expansion utilizing rubber suits and compressed air to inflate body parts to over exaggerated size. The erotic undertones of Hans Bellmer’s artwork through the doll, with it’s twisted position of contorted sexual positions suggests a distorted and warped relationship towards women in his unconscious fantasy life and one where his thoughts and ideas align with the Marquise de Sade. He states,
“I admire de Sade very much especially his idea that violence toward loved ones can tell more about the anatomy of desire than the simple act of love.”
It has been said that Bellmer’s own troubled childhood and family life with his father coupled with broken and war torn Germany during the Nazi occupation likely influenced his artistic expression. And the doll can be seen as a manifestation of his personal anxieties and frustrations with the genital begetting capacities of the father in an attempt to dethrone him.
Far More Disturbing Aspects Emerge:
Allegations surrounding the inspiration for his first doll was due to his unfulfilled sexual desire for his under age cousin, Ursula Negashewski (not sure the spelling is correct), who was living with him and his wife at the time. His desire, “…to create a real object that could be possessed" hints towards this pedophilic desire.
Unfortunately, his desire to project a film through the navel of a girl doll never came to fruition. This symbolic act may hint towards unconscious fantasies about birthing something larger than photographic still life through movement of film via the place where all life and existence is connected to the life giving forces of the mother, the spot of the umbilical cord. Thereby becoming more powerful than a giver of human life to another, as mother and father, but as an actual supernatural God by actually re-creating this disarticulation of the female body in movement. I believe this fantasy was realized through the suicide of his lover Unica Zern in 1970 when she threw herself off a six floor window of their apartment. What can be said in the disarticulation of a lengthy fall? Was this his art come to life? This is my opinion.
Bellmer appears to be resurrecting a childhood darkness which revolves around the sexually deviant and the desires to control and manipulate the female form in his work with a desire to possess a pedophilic object. Through Bellmer’s artwork we can explore psychoanalysis, surrealism, and feminism.
His work is seen in one of two ways. One, as misogynistic works aimed at disempowering women. Or two, as work that subverts conventional notions of beauty and female sexuality and, in fact, actually empowers women by reclaiming their bodies from objectification. I am not a supporter of this latter theory.
Jeux de la Poupee (Games of the Doll — 1935)
In one of the photos in this series, the mutilated form of a female body is standing next to a tree. It is dressed in all red and is severed at the waist with another torso with legs and a pelvic region attached to the top of the body. Four feet are clad in girlish white socks and black patent leather shoes. In the background a menacing shadow figure of a man hides his face behind a tree. The doll is nothing more than a marionette. A puppet in the scene with a sinister figure pulling the strings from a far. The only game implied here are that of a potentially sick and twisted game of a mysterious voyeuristic puppet master.
THE ANALYSIS: Innocence is looked upon with lecherousness and depravity. The dolls in the series “Game of the Doll” are seen in domestic settings: in the kitchen, on the stairs, in a bedroom, in the cellar. A carpet beater indicates the doll is a victim of physical abuse. Yet, another photo with a doll hanging from a hook, part of her dismantled body left discarded on the stairs bears the constant threat of torture or the terrible aftermath of domestic violence. In the images everything is damaged and taken advantage of to depict a far more horrible and unspeakable reality of what the female body endures when faced with the most sadistic of intentions.
In the artwork “Utica Bound” 1958, Utica Zern states;
“The female subject is invited to participate in the abomination of herself.”
Her ability to consent to being manipulated in this way is drawn into question. Utica Zern suffered mental illness and was frequently hospitalized. Because of this Utica Bound remains one of Hans Bellmer’s more questionable works along with “A Sade” in 1961. Was Hans Bellmer doing this for the sake of art or was he carrying out some sick sadistic fantasy by using art to manipulate a mentally unstable woman? Themes of the female body, identity, and power dynamics prevail. Did Bellmer have a functional moral compass? There is an obvious relationship between power and pleasure in “A Sade” with themes of sexual violence and psychological manipulation. As a result, Bellmer’s collaboration with Zern has been viewed as irresponsible and dangerous on Bellmer’s part because he exploited and manipulated a mentally ill woman to participate in something scary and very well could have contributed to her declining mental state.
In the end, Bellmer’s objects were a broken, fragile, lowly female waiting to be used. Bellmer’s desire for women was far from healthy. It was abusive. Through his work, like the Marquise de Sade’s, you discover a sex weirdos incident history and one that is rooted in violation, violence, in possession of an object.
