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Born in Italy. Lives and works in Vienna, Austria. They formed Gelitin in the mids in Vienna, Austria, and began exhibiting internationally in Anticipating relational aesthetics, Gelitin plays with audience participation and collaboration as a central tenet of their oeuvre.
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Helen Chadwick was a speedy forerunner in the slippery realm of corporeal women's art. With an impressive career sadly cut short by an untimely death, Chadwick was engaged throughout with unusual subjects and materials. She did not shy away from any aspect of being human - not even the anus, piss, or the tongue - and thus revealed her interest in the "abject" and in the presentation of aspects of bodily life usually considered inappropriate for public viewing. Chadwick worked frequently with raw meat to highlight the notion of woman as a consumable product, and to negotiate the difficult concept of truth in contradiction, whereby no pleasure comes without pain, and no birth without death. She even, towards that end of her career began to investigate IVF, a topic only recently, and decades later, revisited by artists. Overall, Chadwick was a clear feminist, feeling "cast off" by patriarchal culture. Alongside the likes of Marina Abramovic and Mona Hatoum and continuing the good work of Carolee Schneemann and Judy Chicago , she was determined to expose an all but lost woman's view of the world. Like Hatoum, Chadwick worked across multiple media before such fluidity of practice was commonplace. Her work can be shocking, but not intentionally as with the likes of the next generation of British artists, more simply because her interests made it so. Interestingly, Chadwick taught in the most reputable London art schools between , and as such had an acute influence on the emerging generation of Young British Artists YBAs , and most particularly, on Sarah Lucas.
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