However, in the context of the cycle, this form takes on an exceptional significance. For his research the professor was also a member of the Mid LY Habits team in Paris. This study is dedicated to the authors and also to all his fellow members of this team and of these projects.
The authors have been awarded a César prize in 2012.
Mid LY-Habits. Paris 2012. In the mid 60s, the French artist Émile Zola founded a series of paintings using the corpse. His work is sometimes called “the dead portrait”, using the body as another means of presenting the dead. The first four Zola paintings in this series belong to Zola s work called Derriere unique. The last one, entitled the “Bodies are my love” was painted around the year 1970. The work uses a double meaning of corpses and the image. The paintings are based on the works of Zola, particularly on the painting by his friend Émile-Félicien Grosz, titled Le corpse, La Mort of L'ancient five (1916) which Zola used as a model when he was in Paris in 1919.
In the late 50s and early 60 s, several French artists such as Jacques Audit and Albert-Laurent Thierry showed the body as a source of inspiration. Audit's sculpture is also inspired by the corpse. Audit was one of the pioneers of the movement of surrealism in France in the 60s. Michelangelo Antonio used a similar pose for the character in his film, La Dolce Vita, released in Italian in 1962. During and after the Vietnam War (the end of the 60s) the use of the body as a subject also became widespread in Japan. It had always been widely understood that the corpse is a metaphor for a corpse that is used as living reminder to the dead, a means of reminding us to remain conscious on the dead.
Some people have suggested that the use of corpses in the body art tradition dates from at the time of the “Vietnam War”. A group by the name of “Vietnam War Veterans For Peace” (WFP) has proposed to place at the New York's Museum of the Moving Image a sculpture titled “Vietnam War Corpse”. The group is asking for donations to buy the corpse.
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These Veronika Barony Robbing the agelessness or the apology of the opening form (The cadaver dead body image and the prospective potency in the lyrics and prose of Mid LY Habits) Designating the
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