La belle indifférence (Beautiful Indifference) consists of two catalogues, one composed of images, the other, accounts. The former presents a series of nudes found in Western painting between the XVIth and XIXth centuries; the latter exposes voices deseeding one by one, accounts on the history of art and accounts taken from the sex industry. The two catalogues overlap and in their interlacing producing base points: the history of art awakens thoughts implementing the images (the paintings), whereas the sexual stories bend them (the images). The repetition is intended to flatten the excitement created by nakedness, which is also the objective, and not to deny – excitement – but to put it in relation with systems of representation from where it emanates, and it is about time they were flattened as well.
Gutting Venus comprises three plays – I Make Love to Eyes, Beautiful Indifference and The Lock (fantasy figure wrongly attributed to Fragonard).
The end of each part is the starting point for the next: similar arrangement of people and objects, the same red velvet curtain, the same questions.
It is best to see the three parts if you wish to have an answer to the questions. But the answer not being clear, you can settle for one or two parts.