The tally marks on the skull represent the general face of the once human person.

Result #1

The tally marks on the skull represent the general face of the once human person. The inscription, in a scruffy, half-sneak, half-bodys-nod manner, and apparently without any visual reference to the human race, is clearly a nod to the shape of the skull and the expression of the human. The only hint of human presence in this work is a small stylized red-brick plaque, which is placed above the head of a human-looking figure, perhaps the most recognizable of the many human-looking figures that populate the show. The plaque is a weak nod to the expressive power of the human body, but it is also a sign of the human in a world where humans are increasingly replaced by computer-generated images. This is not to suggest that the work is about a return of the repressed or a return of the ugly. It is, rather, about the human body and the human body as such, a human body that has become irrelevant, an unimportant shape in a world where all bodies are digitally scanned and stored.In an adjoining room, a large, clean, and white plaster headless figure stands on a small pedestal, its face hidden behind a white plaster helmet. The head is a smiling, yellowish-orange skull with a greenish-orange mask. The mask is a reflection of the image of the skull, a reflection that has been digitally scanned and enlarged. The head has been digitally printed onto a large, white, Plexiglas frame, and is on the floor. The head is not a parody of the human form, but a recreation of the human form. The head is a blank, lifeless blank, which we have made into a substitute for a face. In a sense, the head is a mirror image of the body. In this way, the head is a reflection of the body, and it is this reflection that is represented by the skull and helmet. The body is not a blank slate, but a corpse, a corpse that has been printed and enlarged.

Result #2

They also represent the increasingly exhausted possibility of the human being in the face of death. These are not the relics of a lost utopia, but rather the remnants of an increasingly meaningless existence.The only thing that is still human in these ruins is the human form—a human being, a corpse, a corpse, a corpse. The work shows us the stillness of death, of the final decomposition of the body, the annihilation of all that is vital. The artist, whose own body has been sacrificed in the service of a false ideal, in the service of the highest values of culture, has reached the point where he can no longer see the evil that he has been fighting for. He can only do his best to exorcise it, to put it behind us. The old and the young, the artist, and his audience are now one. The work is a reminder that we are all mortal and can only be loved, even by those who think they have the right to be. This is what makes it a masterpiece. It is an exceptional achievement of the artist and a work of great beauty.

Result #3

The tally marks on the skull represent the general face of the once human person. It is not only a record of the breakdown of the old order, but also a reminder of the collective failure to see the contradiction between the desire to represent and the need to represent. The objects are not all destroyed, but the artist has replaced them with others that are more interesting, less alienating, and more logical. The work suggests that art can serve as a mirror of the world, a device for showing the most extreme aspects of human alienation. This is the message of the work, and one that is also taken up in the video projections. The video images are the proof that the new order is not entirely dead, but rather has been completely subverted. The old order is not dead, but has become a mere shadow.The work is accompanied by the sound of the artist singing. This is not a funeral dirge, but an affirmation of the vitality of the artist. The video is a tribute to the artist, and he has been elevated to the status of hero. The video shows the artist as the sole actor, and the projection of the video image as a kind of projection. The artist is now the sole one who has the right to decide whether the video image is a true work of art. The projection shows the artist as a very different person. The video is a kind of self-portrait, and the artist is the one who has the power to decide whether the image is a true image, or an image with a different meaning. The video image is not a self-portrait, and the artist is no longer an unknown figure. The artist is not a persona, and the persona has become an image. The artist no longer hides from the world, and he is willing to face it. The video image is a response to the world, and the artist is the one who is confronting it. The video image is a response to the world, and the artist is the one who is confronting it.

Result #4

The tally marks on the skull represent the general face of the once human person. The excess of hair and beard becomes an expression of the exhaustion of the human being; hair is a sign of corruption; beard a sign of frailty. The faces of these figures are morbidly grotesque; they are in fact perfectly drawn. We are not quite sure whether they are in fact masks or human beings. They are strange and grotesque but not terribly convincing. They are grotesque because they are grotesque, but they are not too much of a challenge to our own sense of grotesqueness. They are not so much grotesque as they are grotesquely human, grotesquely human. They are a grotesque embodiment of the human in a grotesque environment, but they are not so much grotesque as they are grotesquely absurd. They are absurd and absurdly human, but grotesquely so. They are surreal but not too much so. They are surreal but not too much so; they are surreal but not too much so. They are surreal but not too much so, and so they are grotesque but not too much so. They are grotesque but not too much so; they are grotesque but not too much so. They are surreal but not too much so; they are surreal but not too much so. They are surreal but not too much so; they are surreal but not too much so. They are surreal but not too much so; they are surreal but not too much so. They are surreal but not too much so; they are surreal but not too much so. They are grotesque but not too much so. They are grotesque but not too much so. They are grotesque but not too much so. They are grotesque but not too much so. They are grotesque but not too much so. They are surreal but not too much so; they are surreal but not too much so. They are surreal but not too much so; they are surreal but not too much so. They are surreal but not too much so. They are grotesque but not too much so. They are grotesque but not too much so.

Result #5

The tally marks on the skull represent the general face of the once human person. In the next room, the countess eyes—her pupils—were gone, replaced by a video monitor showing a group of people dancing around the corpse. The dance was filmed by a disembodied voice, but the camera was a fake one, and the figures were dressed in clothing that had never been worn by the person before. The camera was also a fake one, too, in that it was showing the corpse of a man wearing nothing but a tuxedo. The tuxedo-clad figures were also shown dancing, and it was the same figure that was seen in a still from a movie. This dance was followed by a series of drawings that combined the look of a dance with a photograph of the artist in a tuxedo. The drawing of a tuxedo-clad figure had been done in a similar way in a different color, and the two were shown in a group of similar tuxedos.In another room, a video was projected. It was an abstract video, made up of a series of images of the artist, his face hidden. The video was shown in a row of four on the wall, and the two video monitors were placed next to one another. The video showed the artist (who was not a man) walking through a city. He stopped at a traffic light, and then stopped at another. He stopped again, and then stopped again. A woman walks by and stops to look at a man. The woman is wearing a red tuxedo and the man a white one. The woman is also seen walking down a street. The man walks with a slight limp. He stops and turns around. The video shows a man making his way through the city. The man stops and turns around. The woman walks by and stops to look at the man. The man walks with a slight limp. The woman walks past the man and stops to look at the woman. The man walks with a slight limp.