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<rdf:RDF xmlns:schema="https://schema.org/" xmlns:rdf="https://www.w3.org/1999/02/22-rdf-syntax-ns#"><schema:ItemList><schema:numberOfItems>1</schema:numberOfItems><schema:itemListElement><schema:VisualArtwork><schema:image>/internal/media/dispatcher/124367/full</schema:image><schema:name>Man Has the Phallus / Woman Is the Phallus</schema:name><schema:dateCreated>1993/2019</schema:dateCreated><schema:creator>[EVA &amp; ADELE]</schema:creator><schema:creator>EVA &amp; ADELE</schema:creator><schema:artMedium>2 C-prints of 2 enlarged Polaroids, artist frames</schema:artMedium><schema:description>
Wearing identical, eye-catching extravagant costumes and sporting shaved heads, Berlin-based artists EVA &amp; ADELE staged their bodies as living works of art. Their public appearances—at biennials, exhibition openings, and art fairs—were conceived as ongoing performances. “Wherever we are is a museum” became their guiding principle, which they followed from the early 1990s until Eva’s death in the spring of 2025. Through their appearance and their claim to come from the future, they initiated a discourse on nonbinarity, identity construction, and queerness, making them far ahead of their time. The duo also worked across the media of painting, printmaking, photography, video, and installation. The two-part work Man Has the Phallus / Woman Is the Phallus draws on the theories of French psychoanalyst Jacques Lacan, who explored the desire for the Other and assigned gender roles.</schema:description><schema:artForm>Photography</schema:artForm><schema:url>https://sammlungtest.belvedere.at/objects/89682/rdf</schema:url></schema:VisualArtwork></schema:itemListElement></schema:ItemList></rdf:RDF>