Tricia Stewart calendar girls in a laundry soap advertisement

In the digital age, the disappearance of the body brings the fading of sex: the computer androids from the ad refrain from copulation to preserve their cyber-organisms, and the Russian architect registers a machine that replaces carnal with virtual intercourse. The naked or dressed body turns out to be just as immaterial, and yet the ambiguity of what the clothes conceal or deny is the reason for the embarrassment caused by the images of Le Corbusier in Cap Martin or Bimba Bosé presenting a collection by David Delfín: the master undressed between a door and a mural, or the model dressed only with a ribbon and a tattoo evoke the clothes in the retina with the same wink of complicity than the hemi-garments of Arkadius. Leaving behind the Adamic innocence that turned the transparent houses of Neutra into fashion scenarios and nudist emblems, today nudity is no more than an advertisement. The prosthesis of the crippled from Sierra Leona in the Benetton ad or of the false tennis player of Sports Illustrated sum up the mutilation of the body in the ritual conflict: the spoon extends the stump of the tribal victim as the racket prolongs the hand of the sex icon, and those Adam and Eve of a divided humanity are reconciled in the narcotic realm of the media...[+]