taiteilijat ovat käyttäneet 
mm. tätä leimaa Mdvaniiism-töissään, 2013

Mdvanii on alusta asti muuttanut käsitystä siitä, miten nykytaiteessa voidaan esittää ihmistä muistuttava nukke. Mdvanii esiteltiin aluksi ensimmäisenä anatomisesti oikein muotoiltuna nukkena aikuisille. Sen jälkeen Mdvanii on saanut monia erilaisia taiteellisia ulottovuuksia ja esitystapoja. Näitä ovat mm. valokuvat, maalaukset ja installaatiot sekä veistokset joilla on "elämäntapa".

Mdvaniiism on taiteilijoiden mukaan "mitä tahansa, joka tuo mieleen Mdvaniin, mutta ei välttämättä näytä häneltä tai edes ihmiseltä". He haluavat käyttää tätä ismiä keinona ilmaista perinteisen hyväksynnän rajat rikkovia tunteita. Mdvaniiism voi siis olla mitä tahansa lumoavaa, joka tuo mieleen Mdvaniin, hänen henkiset arvonsa tai jolle taiteilijat antavat hyväksyntänsä.

Mdvaniiism alkoi jo vuonna 1989, kun Mdvanii esiteltiin ensimmäisen kerran. Taiteilijat eivät kuitenkaan vielä siinä vaiheessa käyttäneet tätä termiä julkisesti. Mdvanii-kokoelmaa alettiin kutsua ensimmäistä kertaa julkisesti Mdvaniiismiksi vuonna 1996/1997, kokoelman "Is The Doll World Ready For A Little Discipline?"  myötä. Sen jälkeen jokainen kokoelma oli Mdvaniiism.

Seuraavassa esimerkki Mdvaniiismistä vuodelta 2007. Kyseessä oli ensimmäinen CSM (Cyber Sexual Mdvanii) paperimassa Mdvaniiism.

Mdvaniiism "Out of The Blue",
BillyBoy* and Lala 2007,
invitation card, SWJAPAN 2007


A new art-ism by BillyBoy* & Lala

Since her beginning, Mdvanii has constantly pushed further the boundaries and meanings of the doll as a human representation in contemporary art. Initially, presented as the first anatomically correct fashion doll for adults, she has explored and transcended her principle into many artistic forms and dimentions: sculptures "with a life style", photography, painting, installations. This is why Mdvanii is not - just - a - doll.

A Mdvaniiism (note the three "i" 's) is very much like a tree: it takes roots in the Mdvanii history and soil it is growing in is made of the infinite social-cultural components and experience transformed into nourishment for the brain and soul. It's branches and leaves aiming at the sunlight: reveal its vitality and the ever-lasting desire/ struggle for life.

The seven "Out of The Blue" artworks constitute a series of Mdvaniiism. Each one is presented a simple wooden box which is lined in electric blue synthetic carpeting with a door covered in linoleum with a ramdom stone pattern. This deliberate use of materials which can in other contexts be considered as "cheap" and "bad taste" is a way to express that luxurious means are in essence as irrelevant in the prenity of Mddvanii's message as they are into any art form.

Mdvanii, in her new "Cyber Sexual" form, here beautifully crafted in resin, each sculpture with a specific hairstyle and a simple red ribbon scarf, is simply hanging inside the box, suspended from a cord, her body partially sprayed in gold. At her feet, is laying a shocking pink "tie-dyed" satin evening gown, which cannot technically be put on the doll. This aesthetic statement - translating the obscure object of desire (and eventually the frustration caused by it) into a metaphor - is one of the components of this Mdvaniiism.

Bondage, treated with many different ways throughout history, may be evoked by this suspended Mdvanii, but this is another element in the composition, yet it is not used as provocation. The bondage guise is a salute to restraints and unachieved ideals that the personage is forced to and is in actual life, confronted to. That all-eternal femele identity is again put a power/ submission dialect creating an intense paradox with this element of the work.

The expression "Out of the blue" is thusly to be taken both literally and symbolically. By being shown in this contradictory posture, Mdvanii is one more time the expression of her constant questioning as both a subliminal image and a vehicle for meanings.

BillyBoy* & Lala, June 2007