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Abstract

The vicissitudes of love in Sacher-Masoch crossed the disappointment, misunderstanding and the powers of artifice, to produce a movement of desire. The fetish worked, in the movement of this work, as an ideal promise proposing a flight of desire, and yet available to a determination of time, to be anchored in a fixed plane and coagulated. Sacher-Masoch is available beyond any administration of gender to establish identity.

While his literature is previous to the theorization of gender, the figures he recreates −the Sarmatian woman, the androgynous creature− matter because of the excess of magic of the lining or for the surrounding effect they bear. The problem in Sacher-Masoch’s work involves new synthesis between nature and artifice, between flesh and inorganic membrane, between performance and habit. A paradox that was not there takes over the scene: makes feminine and softens the appearance, while stiffens and appeals to the cruelty of enjoyment. In this work dominates the sex appeal of the inorganic that is added to the body as a fetish to immortalize it as a spectrum, to make it vibrate as artificial membrane.