Human Taxidermy: Twisted Art or Unthinkable Horror?

Human taxidermy is the practice of preserving human bodies or body parts using various techniques, such as stuffing, mounting, or freezing. It is a controversial and rare phenomenon that raises ethical, legal, and aesthetic questions. Is human taxidermy a twisted form of art or an unthinkable horror? In this post, I will explore some of the historical and contemporary examples of human taxidermy, as well as the arguments for and against it.

Human taxidermy has a long and complex history, dating back to ancient times. The Egyptians were known for their elaborate mummification process, which involved removing the internal organs, drying the body with salt, and wrapping it in linen bandages. The mummies were then placed in coffins and tombs, often with elaborate decorations and artifacts. The purpose of mummification was to preserve the body for the afterlife, as well as to honor the deceased. Mummies are considered sacred by many cultures, and are often displayed in museums or religious sites.

In the 19th century, human taxidermy became more widespread, especially in Europe and America. The colonial expansion and scientific exploration of the time led to the collection and display of human specimens from various regions and races, often without their consent or respect. One of the most notorious examples of this was El Negro of Banyoles, a taxidermied African man who was exhibited in a Spanish museum for over a century, until he was repatriated and buried in Botswana in 2000. Another example was Saartjie Baartman, also known as the Hottentot Venus, a South African woman who was exploited and exhibited as a freak show attraction in Europe, and whose remains were preserved and displayed in a French museum until 2002.

Human taxidermy also became a popular form of entertainment and curiosity in the Victorian era, when taxidermists such as Walter Potter created whimsical and bizarre scenes using stuffed animals and humans. Potter’s Museum of Curiosity in England featured displays such as a kitten tea party, a rabbit school, and a two-headed lamb. Potter also used human specimens, such as a four-legged chicken and a Janus kitten (a kitten with two faces), which he obtained from medical sources3. Potter’s museum was closed and auctioned off in 2003, and his works are now scattered in various private collections.

In the 20th and 21st centuries, human taxidermy has taken a more artistic and speculative turn, as some artists have used taxidermy techniques to create works that challenge the boundaries between humans and animals, life and death, nature and culture. For example, Damien Hirst, one of the most famous and controversial contemporary artists, has used human and animal corpses, skeletons, and body parts in his works, such as The Physical Impossibility of Death in the Mind of Someone Living (1991), a shark preserved in formaldehyde, and For the Love of God (2007), a human skull encrusted with diamonds. Hirst’s works are intended to provoke and confront the viewers with the realities of mortality, decay, and beauty.

Another example is Patricia Piccinini, an Australian artist who creates realistic and disturbing sculptures of hybrid creatures, such as The Young Family (2002), a group of human-animal hybrids that resemble pigs, and The Long Awaited (2008), a boy embracing a seal-like creature. Piccinini’s works explore the ethical and emotional implications of biotechnology, genetic engineering, and human-animal relationships.

The arguments for and against human taxidermy are complex and varied, depending on the context, purpose, and perspective of the practice. Some of the possible arguments for human taxidermy are:

• It is a form of art that expresses creativity, imagination, and innovation.

• It is a way of preserving and honoring the memory and identity of the deceased, especially if they consented to it.

• It is a means of education and research that provides valuable information and insights into human anatomy, history, and culture.

• It is a challenge and critique of the conventional norms and values of society, such as the taboo of death, the distinction between humans and animals, and the definition of beauty.

Some of the possible arguments against human taxidermy are:

• It is a violation of human dignity and rights, especially if the specimens were obtained without consent or respect.

• It is a form of exploitation and commodification of human bodies, especially of marginalized and oppressed groups, such as indigenous people, women, and people of color.

• It is a source of horror and disgust that evokes negative emotions and reactions, such as fear, anger, and sadness.

• It is a danger and risk to public health and safety, as it may involve the use of harmful chemicals, pathogens, and diseases.

Human taxidermy is a controversial and rare phenomenon that raises ethical, legal, and aesthetic questions. Is human taxidermy a twisted form of art or an unthinkable horror? The answer may depend on the context, purpose, and perspective of the practice, as well as the personal and cultural values of the viewer. Human taxidermy may be seen as a creative and respectful way of preserving and honoring the dead, or as a horrific and disrespectful way of exploiting and abusing the living. Human taxidermy may be seen as a fascinating and informative way of learning and researching about human nature, or as a repulsive and disturbing way of violating and degrading human dignity. Human taxidermy may be seen as a provocative and challenging way of expressing and critiquing the realities of life and death, or as a shocking and offensive way of transgressing and offending the norms and values of society. Human taxidermy may be seen as a form of art or a form of horror, or perhaps both. What do you think?