Men are "painters" and women are "poets" - looking at the gender differences from toilet graffiti

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Text / Zhang Qikai

"Women are not born, but shaped." Simone de Beauvoir declared so fiercely and confidently.

This claim can only be logically extended to the conclusion that there is no essential difference between women and men. This conclusion was once so extraordinary and shocking, but now it seems to be tinged with vague humor.

Huang Yin, a female artist living in Chongqing, invited a male photographer Wang Tie to complete a work for her. They got into the toilet respectively, but their camera lens was not aimed at people's privacy, but at the indulgent imagination of many men and women in the absolutely hidden and narrow space of the toilet - graffiti. After browsing through the hundreds of sex and love-related pictures they provide, you can hear the longing voices of men and women without having to listen, and then you will realize that men and women are indeed trapped in two completely different desires. sigh. Perhaps it is this different desire that distinguishes the different behaviors of men and women. The man's part of the picture is mainly pictures, but the woman's part is mainly text. In the words of the artist himself: Men are all painters, and women are all poets. In the primitive days of human beings, pictures were tools to express what we wanted to know about the world, and words were a means of expression that humans acquired only after they had accumulated enough experience on the spiritual level. In these photographs, men regard their genitals as the core image of their erotic desires. This can only prove that the lingering poison of genital worship in a certain primitive period of human beings has not yet been eliminated. The derived keywords are: seduction of coitus, buying and selling coitus and forced coitus; and the keywords derived from the female humanistic poetic spirit are: love and be loved. Men deal with sexual restlessness, and women have the troubles of love. Men's vulgar pictures seem unpleasant and boring to describe. They are nothing more than the touching, entering and spraying of body parts directly related to sex. The accompanying text also makes the men somewhat embarrassed. Let’s take a look at the delicate and unpredictable poetry of women:

I love you for ten thousand years! (Longing for love); Say it! Say you love me! (desire to be loved); I really hope to buy feelings with money (lack of love); I hope I am the most indulgent rose at midnight/show you my beauty wantonly (hope to continue to be loved); Love! Don’t give up once you love (the determination of love); you must capture a man’s heart/capture his stomach first (the skill of love); it’s best to invest 50% in a man, you won’t be too happy if you get it, and you won’t be too happy if you lose it. It’s too painful (the experience of love); I love you but deliberately say I don’t love you (the characteristics of love); I love because I love you (the logic of love); Women, we must resist men! (The struggle of love); Long live the woman/0 live the man! (Anger of love); I like famous brands/but I don’t have to buy them for the sake of the person I like/for his happiness/I don’t have to buy them for him (dedication of love); even though I know he has a girlfriend/but I still love him/ Never regret (the tolerance of love); no man can understand a woman's heart (the troubles of love). Just one word, love, is shown to be so multi-faceted and real in toilet culture. Everyone knows that love is happiness and being loved is happiness. Women are always immersed in this double happiness. And men are like male animals for most of their lives, unable to escape the torment of instinctive expectations and repressed sexual fantasies.

Cindy Sherman's "Untitled No. 302"

This toilet work titled "Gender_Gender" was exhibited at the "If Women Ruled the World" exhibition in Lugu Lake in July this year. On display at the exhibition. The special host of this exhibition is the famous American female artist Judy Chicago. Chicago is a representative of extreme feminism. In order to resist male hegemony, she changed her father's surname from Cohen to her birthplace of Chicago. Her most influential installation, "The Dinner Party," mobilized 400 women and took 6 years to complete. A large triangular dining table is engraved with 999 outstanding women in history. There are 39 sets of ceramic tableware on the table, with patterns deformed from female organs. She tried to use a fictitious party to hint at the collective power of women and men, their luxurious will that is beyond men, their desires that are more wanton than men, and their participation in and influence on the historical process. At the same time, the main focus of this work is to accuse the male-dominated society of sexual persecution of women. In fact, the concept of feminism is already a moldy word in the West. Women have long since calmed down and are more inclined to new feminism. This trend of thought is that in addition to equal treatment in terms of personality, law, job opportunities, and labor remuneration, it also recognizes the differences between men and women in physiology, psychology, personality, and physical strength, and emphasizes as much as possible the superiority of women themselves: they are naturally repulsive to violence, love Peaceful, strong endurance, more persistent, more dedicated, more spiritual, longer lifespan, even enjoying passive pleasure during sexual activities appears more elegant and the sexual peak experience is more intensive and lasting, etc. Chicago, which has been rushing all the way with the sword and shield of women's liberation since the 1970s, actually said tenderly in China's Lugu Lake what the feminists of that year would never forgive: "The gentleness and kindness of women represent the world." Everything is wonderful!" Under this premise, she still cannot forget the hypothesis: "What if women rule the world?" Regardless of whether the men she regards as reactionaries agree, this should be a hypothetical proposition worthy of discussion.

Judy Chicago's "The Dinner Party"

The work of Huang Yin, a female artist from Chongqing

Beauvoir can be a great example of zoology and human sociology. A valuable text, her life practice as the patron saint of feminism completely betrayed her own beliefs and unforgivably betrayed the revolution: she succumbed to Sartre's male hegemony, seduced young girls, and then treated them as men - the masters of the real world - —offerings. Therefore, Beauvoir is the most unfortunate intellectual woman in the 20th century! Beauvoir's defeat in the love war was not based on cultural reasons, but purely on the surrender of female animals to male animals. From a sociological sense, women are victims of male dominance; from a biological sense, men are victims of the genetic laws of the species. Today, tolerant men and women will say: In fact, we all benefit from gender differences!

There is a cartoon in Germany that simplifies the problem: a boy and girl embrace in the moonlight. The wish that pops out of the girl's head is a heart, while the boy's desire happens to be the heart turned upside down and turned into a female buttocks. The men and women who looked at this picture laughed, because they all found their true and happy selves in this work.

Judy Chicago's works

Tracy Amy's "The People I Bed with, 1963-1995"

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