‘Streaming Physical Love’
Authors: Libidot) Katrien Jacobs (a.k.a. 
Published: October 2020

I first met with the enigmatic Dutch artist-couple, Zoot and Genant, in the Summer of 2000. We talked about their performances as part of the collective Artporn and their later work as a duo. Zoot and Genant combine the best of Amsterdam hippie culture with advanced technological networking. As good Dutch citizens, they intervene in global media debates with bodily performances and a harsh critique of consumerist sex industries. A uniquely burlesque quality pervades their work, as their performances take on dreamy and raw forms. Performance modes are invented ‘from the bottom up’ with performances such as Oysterbarpiece (1995) and Anal Restaurant (1996) translating clever concepts into physically bawdy gestures.
In Anal Restaurant, a naked performer is tied to a platform, his/her bottom stuffed with mashed potatoes, and the mixture released into the gallery when the fastly rotating platform is abruptly brought to a halt. In Oysterbarpiece, Genant asks participants to suck oysters from between her legs. She stands on her head with legs wide open and ‘gazes back’ at the participant by taking his/her picture with a camera. By assuming this position, she wants to make audiences aware of their voyeuristic role by ‘reversing their gaze’, as she argues that every voyeur is a sexual being to somebody’s else’s gazing eye. Reversing the gaze means opening up new and uncensored spaces of eroticism – as they write in the Irotic Manifesto: “The historically situated gaze is turned upside down and no longer do we stare into a void. We create many more spaces than are actually allowed … You may enter space with a certain literary baggage, the handcuffs of Sacher-Masoch welded to the wonders of Rabelais” (Artporn).
Theories of erotic space are tested in community spaces where special attention is paid to the strong grip of commodified sex regimes on the audience. Zoot and Genant circulate their own sexual energy as ‘art’, distributing it to audiences who react sometimes with their own heightened energy and sometimes half-paralyzed. Zoot explains that the difference between live performances and mediated performances is enormous, as live performances are short-lived and cannot conceal the performer’s body or his/her state of excitement.
They opted for an extended internet performance with Fucking Retreat 8x8x72. For this, they held an‘artist retreat’ in the Amsterdam Gallery De Praktijk and demonstrated their sexual intercourse by means of a webcam. Going back to a Taoist ritual, they fucked eight times a day for eight days in a row, with 72 thrusts on each particular occasion and an attempt not to reach orgasm. With this extremely popular web action, they reached a high/height in media activism, as the loving couple became the medium itself, and they were able to manipulate cameras and stream their digital images to hordes of sexually conditioned net viewers. Philosopher Cees Maris signals the performance as ‘post-revolutionary’ as the couple represent the integration of both monogamy and polymorphous perversity in contemporary society.
Libidot: Did you want to hold a ‘sexual think-tank’ with Fucking Retreat 8x8x72 and distribute it as free porn on the Internet?
Genant: 8x8x72 was an abstraction-exercise in making love within our relationship. It was a performance where we were sealed inside a gallery and used a webcam to enable viewers to participate in the concept of the experiment. But we never intended to distribute ‘pornographic’ images. For many years we have separated the realm of pleasure from that of pornography. We wanted people to participate in the abstract experiment itself, the result of which only we, as performers, could feel in our bodies.
Zoot: What we did was an everyday action – fucking – stretched out over a manipulated time-line. As performers it was a challenge to play with the time-line and make it more complex because, on the actual stage, the interaction with the audience is short-lived and intense. It was a very complex experience for me, to engage in such an extremely intimate action in front of a webcam, making love to Genant. A maximum viewing public was created by the computer and cameras, which were also acting as a filter between ourselves and the audience. This filter gave us the possibility of reaching a high level of intimacy and softness, together with lots of laughter – just the way we ourselves are. But it took a while before we figured that out. Once we loosened up and incorporated the technology of ‘streaming’ into the performance, I became aware of the relationship with the public and all the machine-buttons we could manipulate. That is very different from reality television or commercial porn sites, where the machines are owned and steered by a company. The entire complex of autonomous media activism made a big impression on me. We actually accomplished one of our long-time artistic goals, that is, to become the medium itself and to be completely autonomous.
Genet: The technological distribution of ‘live’ events has become essential after 9/11. We used machinery welded to physical effort to offer the viewer many options, including going through our web archives. It is momentarily frightening to perform such actions, to do actions in front of a camera using autonomous media.
Libidot: You are wary of the Internet’s sexual energy, as you write in your announcement: “Zoot and Genant laugh at those who are excessively sexualized by Internet, they hover above the hypererotic nausea of gazing eyes and digital drifters, performing cyber-squatting amidst digital slavery of cybersexual commodification”. How did your own sexual energy transfer to remote viewers?
Zoot: In the first instance the performance was food for the average voyeuristic web user, as the strength of his/her unconscious pornographic desire was nurtured by recognizable movements. Sex is, indeed, the lubricant of the Internet. But the images we delivered to the Internet were of a different nature and, hopefully, caused a mutation in the subconscious pornographic gaze of the viewer.
Lots of pleasing reactions resonated in the city. I believe that people started experimenting themselves. I heard from ‘real’ men that they found it hard to believe that we fucked 64 times in 8 days. Why are people looking for quantity rather than quality? In order to be really effective one would have to get feedback from all of those people, but it was hard for us to plough through the endless piles of ‘chat-diarrhea’ in the chatroom.
Libidot: Bianca Stigter’s review in NRC Handelsblad indicates that webcams documenting ‘everydayness’ have flooded the Internet and that your work is in line with this trend: “Their webcam is in tune with all the other webcams on the Internet that give access to life here and there, everywhere. In a zoo in Singapore a monkey is eating an apple. Tourists in Times Square are crossing the road. In the Lauriergracht in Amsterdam, two people are fucking” (Stigter). Would it be possible for your performance to be perceived as part of an expanding webcam ‘amateur porn’ industry?
Genant: We do not want to add anything to the porn industry. Ours was an art experiment, a physical performance around the subject of physical love. I don’t think that lions in Artis Zoo or whales in Oahu are fucking in a similar series, but our performances do reach similar mass audiences to the Tour de France or American football. Of course we got a big kick when the statistics revealed that we were visited by viewers from 48 countries, including Easter Island. Just the idea that on Easter Island, on the other side of the globe, Rapa Nui in winter time, people were watching a performance in an Amsterdam gallery and chatting with somebody from Japan about the difference between an imagined performance and the actual event: that was a big ‘opening’ for us.
Libidot: How does Taoist ritual affect your actual relationship and your sex life?
Genant: Taoism is about making a commitment to a partner, cutting through random animal attractions and irritations. Artificial seduction rituals fall apart after a couple of days. In our performance, there was no extended foreplay or afterplay, just an abstention of climax. Before the climax dissipated, our bodies recharged with energy and returned to remembering moments of enjoyment, each time a little more quickly. I got an energy charge from top to toe and by the time I wanted to surrender and come completely, my bodily cells had been exposed to a routine pattern. Abstention then is like a coitus interruptus, a spectacular thing to feel from a partner whom you love.
The numbers 8 and 64 are magical. I felt the symbolism of an alchemical wedding as we tuned into the mantra of a fully controlled electronic network. It felt like deafening energy, rather than lust or an act of procreation. The effect of this was very rewarding and, afterwards, we lingered in a state of creative sexual energy for a week. When we arrived home we were free to do whatever we wanted and let the holy juices flow. We realized love was a blessing. We made love day after day and gave energy to each other, as if we were in love for the first time. Sweet monogamic love, we embraced and worshipped her.
(Interview translated into English by Katrien Jacobs)

Works Cited

Artporn. Irotic Manifesto. Unpublished document, 5
Stigter, Bianca. “Een Hobby als Vissen”. NRC Handelsblad, 5 July 2002 (author’s own translation)
Stigter, Bianca. “Een Hobby als Vissen, NRC Handelsblad, 5 July 2002 (author’s own translation)
To order Zoot and Genant’s 8x8x72 Fucking Retreat on CD-Rom, look for their artist profile on http://www.depraktijk.nl
Zoot and Genant can be contacted at zootengenant@newyork.com

Links

mailto:zootengenant@newyork.com

http://www.depraktijk.nl

Citation reference for this article

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MLA Style

(a.k.a Libidot), Katrien Jacobs. "‘Streaming Physical Love’" M/C: A Journal of Media and Culture 5.6 (2002). Dn Month Year < http://www.media-culture.org.au/0211/streamingphysicallove.php>.

APA Style

(a.k.a Libidot), K. J., (2002, Nov 20). ‘Streaming Physical Love’. M/C: A Journal of Media and Culture, 5,(6). Retrieved Month Dn, Year, from http://www.media-culture.org.au/0211/streamingphysicallove.html