Paloma Rosenzweig
bóca, 2021I cannot even begin to guess the number of times I have seen a person’s throat cut in films. However, I remember becoming aware of the vulnerability of one’s (female) body through one particular and much more austere image than any movie had to offer: Alberto Giacometti’s 1932 sculpture Femme égorgée (Woman with Her Throat Cut). Displayed on the floor, an abstracted, insect-like figure lies with its legs wide open, with rib cage and breasts exposed, its arched, elongated throat accentuating the fall of the now-inert tiny nodule-shaped head. This suggestive image, unlike all that cinematic gore, still preys on my thoughts.