Death Becomes Her, Heidelberg Edition...
BODY WORLDS Wrocław — Facebook-Ad image-grid, May 2026. HIGH NOTE EVENTS sp. z o.o. / Institut für Plastination Heidelberg. Captured for analytical use under §51 UrhG / art. 29 PL Ustawa o prawie autorskim.
The 1992 Robert Zemeckis film Death Becomes Her gave Meryl Streep and Goldie Hawn a magic potion that preserved their bodies forever while their flesh kept on dying underneath. The gag was that you could keep the form while subtracting the substrate. A Facebook ad on a Wrocław feed in May 2026 advertises something close. The exhibition is called Body Worlds, the current edition is The Cycle of Life, the venue is IASE on Wystawowa 1, the run has just been extended to the 30th of June. Four photos: a chess player, a cowboy figure with a hat, a school group looking into a vitrine, a posed body with parents and children standing in front.
The text of the ad reads, in Polish, autentyczne eksponaty — ciał i narządów przekazanych przez dobrowolnych dawców do Instytutu Plastynacji w Heidelbergu 🙏 — authentic specimens, bodies and organs donated by voluntary donors to the Institute of Plastination in Heidelberg, with a prayer-emoji. This is a translation that is not a translation. The German Demokratisierung der Anatomie (the democratisation of anatomy — Hagens' own slogan since the 1990s) does not appear; the Polish phrase is prezentacja naukowa (scientific presentation). The Lutheran-Reformation history that gave the German slogan its weight is unavailable here as a resonance-chamber, so the slogan is quietly replaced by its secular-scientific cognate. Heidelberg, however, makes the trip intact. Its name in the Polish feed is doing two jobs at once: it anchors the donor-consent frame, and it answers a question the ad never asks aloud — where else, then, do these bodies come from.
BODY WORLDS Wrocław — Facebook-Ad text, May 2026. Heidelberg-Attribution + Prayer-Emoji quoted analytically above. §51 UrhG / art. 29 PL.
Donor consent is the moral hinge of the entire operation. The Heidelberg programme has nearly twenty thousand registered donors, mostly German, who have signed away their bodies during their lifetimes. In the slogan's logic, this is enough to make everything that follows acceptable. It is also a specific anthropological position dressed as a universal one. The body owned sufficiently to be disposed of after death is the body C. B. Macpherson called possessive-individualist — a self related to itself the way an owner is related to a property. Other anthropologies have other answers. The body held in trust because it was given. The body that belongs to the relational fabric of the living, who carry obligations to it that cannot be signed away in advance. The body partly withdrawn from disposal because death generates a dignity that survives the person.
The consent-anchor presents one position as natural and makes the others unsayable without an argument. The Menschenbild — the conception of the human person an institution operates with, even when it doesn't say so — is here without being named.
The ad lands very quietly in Poland. The resonance-chamber that in Germany would have spoken at length about this — the Lutheran ethics commissions, the dignity-jurists, the medical-ethicists with institutional standing — is configured differently here. The Polish episcopate has issued no position. The political parties across the spectrum have not raised the question. The academic bioethics chairs, where they exist, have produced isolated individual interventions rather than a consolidated voice. This is not a verdict on Polish capacity for critical reflection. It is a structural fact about institutional configurations: a hegemonial-majority church does not produce dignity-statements the way a minority church under public Stellungnahmepflicht (statement-duty) does; a parliamentary system without an established bioethics-rapporteur does not generate the same case-law pressure that a federal system with three legal tracks generates. The ad arrives without the apparatus that, in another configuration, would have surrounded it with thirty years of argument.
Back to the picture. The plastinates are posed — chess, cowboy, dancer-attendant, family-group exhibit. The cycle of life of the title is performed through these poses, and what the poses share is what they exclude. Not one of the four figures is shown frail. There is no Pflege-Bedürftigkeit (the state of needing care), no terminal weakness, no body that has been visibly given up to dying. The anatomist Andreas Winkelmann at the Charité pointed out two decades ago that classical anatomy required a geschützter Raum (protected space) — closed, mediated, conducted under conditions that preserved the precarious tissue between the donor and those who would learn from the donated body. The exhibition removes the protection and keeps the body, and what it shows in compensation is a body shaped to be looked at by anyone, by which it has had to become a body without the iconography of actual dying. Meryl Streep's character in 1992 would recognise the formula.
Form preserved, substrate quietly removed, the question of what is left declared irrelevant.
Hagens describes himself as an Erlebnisanatom — an experience-anatomist, coined from Erlebnisgesellschaft, the sociological diagnosis of a German late-modern experience-society. He has said that in such a society he must communicate emotionally. The muss does a lot of work in that sentence. A historically specific situation — one country, one decade, one sociological diagnosis — has been quietly refitted as a professional necessity. Other anatomists go on teaching in lecture halls without posing dead chess players. Other communicators of medical knowledge goon running textbooks and open-access platforms and dissection courses.
The muss is a commercial decision to operate in an emotional register, dressed up as a sociological law.
The legal move is the most consequential. Hagens has explained that plastinates are Strukturelemente des menschlichen Körpers ohne Leichenqualität — structural elements of the human body without corpse-character. The phrase does not describe a property of plastinates; it relocates them out of the legal regime that protects corpses. If the plastinate is not a corpse, the burial law does not apply, the post-mortem-dignity provisions of the criminal code do not apply, and the carve-outs the jurist Brigitte Tag has spent decades developing — a conditional toleration of plastination only where consent, post-mortem dignity, and public sentiment are jointly preserved — become unnecessary. An ontology has been declared in juridical clothing. The Polish ad has no need to repeat the move because the Polish legal field around plastination is empty in any case. An industrial process with production sites in three countries does not require a great deal of explanation when there is nobody specifically tasked with asking.
The ad's text promises a full arc: Od pierwszych komórek, poprzez rozwój płodu, dojrzewanie, aż po zmiany ze starzeniem się organizmu — from the first cells, through fetal development, maturation, to the changes of an aging organism. The four photographs do not. The cycle of life made visible in the image-grid is the commercially serviceable middle: an athletic figure in a cowboy hat, an athletic figure at a chess board, schoolchildren peering into a glass case, a posed figure with parents and small children. The first cells and the foetus are in the prose, absent from the picture. The aging organism is in the prose; the figures do not show it. The Cycle of Life is, in the ad, the part of the cycle that is comfortable to look at on a phone screen between other Facebook posts.
None of this is unknown. A dense German-language academic literature on Body Worlds goes back to the late 1990s. Stefan Hirschauer's 2002 essay on plastination called the plastinates Scheinlebendige — the seemingly-alive — and traced the operations of denial they perform. The 2001 edited volume Schöne neue Körperwelten, with Brigitte Tag among its editors, contains a chapter titled Von der herrenlosen Sache zum kommerziellen Objekt — from the ownerless thing to the commercial object — that did the value-form analysis these ads still require. The 2017 paper Kapitalistisch verwertbare Körper in Soziale Passagen updated it. The Duisburg Institute for Linguistic and Social Research has been mapping the discourse for decades. The analysis is in print, in German. What is missing in Poland is not the analysis. It is the political and organisational uptake that would carry it across.
The same Menschenbild travels from Heidelberg to Wrocław unchanged. A self that owns the body sufficiently to dispose of it. A body posed in agency-vocabulary, with frailty edited out. A juridical category designed to release the body from the protective regime that would otherwise surround it. A pedagogical muss that converts a marketing decision into a sociological law. These are not four separate operations. They are one operation seen from four angles, and they describe one kind of person: optimised, agentic, post-mortally disposable, available for educational entertainment under conditions that no longer require asking very much. The German configuration has had thirty years to argue with the package and has produced jurists, sermons, parliamentary questions, court decisions, a small library of academic books. The Polish configuration is meeting the same package now, in the form of a Facebook ad with a prayer-emoji and a link to a ticket vendor. The package itself is identical.
The chess player will be in IASE on Wystawowa 1 until the 30th of June. Visitors will see what the image already shows: a body posed for the encounter, with no day in it that looks like the last day of a body. Streep's character drank the potion for what she thought would be eternal youth. The donor signed for what they understood as anatomy education. The visitor buys a ticket. What is the body walking into the exhibition room agreeing to?