The following interview was published on Bad at Sports in March, 2014.
In a 2007, Art Orienté objet, a French collaborative group comprised of Marion Laval-Jeantet and Benoît Mangin, began a series of body modification experiments intended to communicate with animals outside of language. “Basically the project was to artistically adapt Jakob von Uexküll’s Umwelt theory, which argues that the meaning of an environment differs from one animal to another in relation to its sensorial system” (Marion Laval-Jeantet, “Self-Animality,” Plastik: Art and Science, June 2011). The project began with an investigation of cats — what eventually culminated in a single piece, Felinanthropy, where Laval-Jeantet put on a pair of cat-like prosthetic hindquarters; by transforming her status as a bi-ped, she was able to change the hierarchical relation between herself and the cat. A subsequent experimental work led Mangin to put on a prosthetic giraffe head and engage giraffes in a zoo, exploring the giraffe’s ability to recognize Mangin not as a human, but as something almost giraffe. More recently, AOo embodied an equine perspective; Leval-Jeantet built up a tolerance to horse blood by injecting a small bit of the animal’s plasma into her system over the course of a year. She subsequently staged a horse blood transfusion performance with her partner Benoît Mangin. What remains of Que le cheval vie en moi!, is the “relic,” a small, innocuous petri dish with human/horse blood. In the following interview — originally conducted for Paper Monument where an affiliated essay, “Humanimals” was published — I asked Laval-Jeantet a few questions about this work. All answers have been translated into English by Basia Kapolka.