Have you ever see a mannequin from a distance and thought it was a actual person? Is it because you just saw clothing and assumed it must have been another human being? I can admit to it. Does this mean that it could be possible to actually fall for a object? To convey a flurry of emotional attachment to a “thing”.
Agalmatophilia is the act of sexual desire towards a statue, mannequin or doll. Richard Von Kraft-Ebbing in his Psychopathia Sexualis includes a section of the “violation of the statue” where he reports a case of a gardener who fell in love with the statue of the Venus De Milo and even attempted coitus with it (Haschemi Yekani, Kilian and Michaelis). This violation of the statue could represent this need to feel masculine, and this savage male desire for the statue does also borderline represent a level of the male heterosexuality at is’ most narcissistic. The female statue is in fact a symbol of dying femininity as the gardener proceeds to rub himself all over it. There is a strong sense of violation in the act of agalmatophilia. The object cannot consent to anything and if, for example, you did kiss a mannequin there is no struggle. A mannequin cannot kiss you back, nor can it love you back because it is plastic. It’s actual quite fascinating to think of the fetishisation of a empty plastic being. Even when you type the word “Agalmatophilia” into Google you are greeted with links to so many porn sites and online stores of “used” statues. All of these dolls are also female, interestingly.
Whilst I don’t want to simulate a sexual scene on stage with the aforementioned mannequin the concept is to project all the connotations I have with love on to this single entity. This mannequin is a “vessel” for not just mine but the audiences experience with love. For every bad date that ended up with you paying the bill for the steak dinner and wine, and the time you were merely just another number in someone’s little black book. Just like when a mannequin is dressed up in the latest fashion labels I intend to label this object as a past, or even future, lover and then tear it down.
Work’s Cited:
Haschemi Yekani, Elahe, Eveline Kilian, and Beatrice Michaelis. Queer Futures. Farnham, Surrey, England: Ashgate, 2013. Print