ABSTRACT
This chapter discusses the two works of art as examples of how the generative research and practice of Exquisite Corpse has accrued since the surrealists. Exquisite Corpse constitutes eccentric, ecstatic and eclectic embodiment; an imminent dynamic of folding and unfolding, revealing and concealing knowledge that is capable of rupturing sedimented, normalizing ideologies and practices of hegemonic power; in doing so, its antinomies offer irreducible possibilities for the body's creative and political agency. Concerned with the exhumation of immutable metaphors, the chapter focuses on revisit cadavre exquis, one of several free associative parlor games with which the surrealists responded to Sigmund Freud's conception of dream cognition and to reconsider its mutable and indeterminate narrative as enabling the body's critical intervention within academic, institutional and corporate culture. Like Chester's forklift, the surrealists' Exquisite Corpse parlor game consisted of three or more individual sections, each rendered by a single player and joined together into a single, collaborative visual or written artwork.
