Special issue. NORWAY–RUSSIA: ON THE CROSSROADS OF CULTURES
QUICQUID DEUS CREAVIT PURUM EST, it reads above the entrance to Tomba Emmanuelle, EVERYTHING CREATED BY GOD IS PURE, in what seems to be the perfect antithesis to the dark inferno of sex and death one enters seconds later. But only seems. For what, if not purity, is the very essence of the VITA, with its never-ending cycle of birth, growth and death, purity of vision, and purity of form, all of mankind’s vitality and anxieties and unspeakable fears frozen in almost ornamental patterns of naked figures? The scenes are those of both productive and counterproductive human activity, men and women engaged in Kama-Sutra-like lovemaking side by side with skulls and bones and decomposing corpses, with the ultimate synthesis of life and death conjured up in what is perhaps the most extreme image of them all, that of two skeletons copulating at the base of a monolith of levitating infants.