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P.P.2

Page 10



admixture coils at the heart of both Mikhail
Bakhtin's and Julia Kristeva's conceptions of
the grotesque and the abject: the perverse
patchwork Harpies; blood found seeping in
the stead of sap; the chimerical perversion of
self and identity inflicted upon the damned,
all serve to underpin this.14

Then, come Judgement Day, and thence every
day thereafter, the deserted bodies of the Sui-
cides will be suspended — as though in pro-
phetic echo of the figures of a Goya print —
upon the cruel thorns of the unliving trees
they have each of them become. Forever, in
the acutely applicable words of Kristeva, “lit-
erally beside himself".15

On the subject of Goya, I would encourage
particular attention upon his print series of
1810-1820, Los Desastres de la Guerra (The
Disasters of War), or rather to their transmu-
tation into Jake and Dinos Chapman's print
series of 2003, Insult to Injury. This saw the
amendment of Goya's figures, frozen in their
agonal arabesques, with the faces of cartoon-
ish clowns and freaking beasts.16 Whilst the
brothers had bought and paind for their set of
prints, and though, having been produced in
1937, those were perhaps not the most ven-
erable vintage, the action remains striking    10