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Zoo-Ethical Implications of Contemporary Performance Arts: Tajči Čekada's She-boar and Trans-hare Meet Mary Britton Clouse's Human- chicken Unison

In the first part, as an example of the zoo-ethical thinking in contemporary visual culture, the paper focuses on the multimedia artist Tajči Čekada (Rijeka, Croatia, 1979), her two video performances in which she introduces the animals – a she-boar and a hare as subjects. In the two channel video installation She-Boar, He-Boar, the Meat, Dead Boar (2013) the artist and the she-boar, in the form of a live sculpture, re-interpret Manet’s painting The Luncheon on the Grass (1863), otherwise in the history of art determined as the first painting of modern art. As a juxtaposition to the picnic, on the other side of the video performance (two channel video installation) scenes are being displayed of wild boars being hunted and their flesh being prepared for everyday consumption. Here likewise it will also be interpreted her video performance F to H, Run, Hare, Run (2014), which stands for shape-shifters, female to hare, where the artist called her case of trans-species and transgender transformation from a human being (i.e. a female) into a hare (i.e. a male) – F to H, like mythical cyborg in the unison transition between human and animal, non-human (cf. Haraway 2007, Dunayer 2004). From a zoo-ethical position, this performance opens a dialogue with the Dürer's portrait of a hare (Young Hare, 1502) as well as Beuys' action How to Explain Pictures to a Dead Hare (1965). Therefore, what exactly happened to Dürer's and Beuys' hare? The second part of the paper will introduce the "chicken art" of the artist and animal right activist Mary Britton Clouse who reveals the unison between chickens and humans. As a member of the JAAG (the Justice for Animals Arts Guild), the artist stresses the need of animal related art with zoo-ethical implication, or by her words: “Rather than art about animals as metaphor, generic or decorative subject matter, [JAAG is interested] in art made about and for the benefit of real, unique, individual beings” (cf. Britton Clouse 2009, Baker 2013).

art for animals, animal rights art, Takči Čekada, Mary Britton Clouse, Steve Baker

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