Pics or It Didn't Happen: Images Banned From Instagram

Throughout our three-way Skype session, L.A.-based Arvida makes breakfast, clanging pots and pans, and New York-based Molly sits in front of a sparkly purple and pink curtain – a surreal and fitting stage for our discussion of Internet performativity and visible/invisible histories.

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Five Artists Making Erotic Art in the 21st Century

I argue that nothing is inherently erotic. And therefore everything can be erotic. Drawing boundaries around what is and isn’t erotic is kind of like drawing boundaries around what is and isn’t sex, what should and should not turn you on – you can’t do it for someone else. Erotica is, for all intents and purposes, in the eye of the beholder.

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A Reading of a Transcript of a Rally

On November 6th, 2016, a group of artists and writers gathered in front of a crowd on the High Line in New York City and read responses to Zoe Leonard’s seminal 1992 text ‘I want a president’ – which had been blown up and wheatpasted onto a nearby wall. The book that grew from this pre-election rally is I want a president: Transcript of a Rally.

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A Brief History of CyberFeminism

Like all so-called “histories”, this one is imperfect, and incomplete. This Brief History is a 6-point look at a few of the movements, exhibitions and theories that make up cyberfeminism - whatever that may mean. It’s a curated patchwork held loosely together by a common feminist hope for, and vision of, the future - a more subversive, metallic, raucous, queer future populated by hacker chicks and cyborg femmes.

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On Femme Aesthetics & Fashion Politics

Getting dressed is a highly evocative act. It can be a textile collage of eras, of film references, of borrowed style. I like to look at my outfits as a kind of pastiche – a tongue-in-cheek form of cultural memory, a campy mix of real and imagined characters.

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Hail Marys

Where Ma spills over with quiet embodiment, m/Other stages the disembodiment of language. Ma is told through the movement of silent bodies, and m/Other is a non-narrative, bodiless exploration of verbality. Both works are preoccupied with the maternal image and the distortion of a problematic narrative. The two together are a re-assemblage of dislocated parts, a convergence of subversive articulations.

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Interview with @ButchCamp

ButchCamp, run by Isa Toledo (a Lisbon-based artist) and Rosie Eveleigh (an Arnhem-based graphic designer), is an ongoing queer historiography project articulated through an important 21st century medium: Instagram. The project features images and text on butch characters and icons (of both the accidental and deliberate variety) by theme, ranging from barber cuts to Hollywood sewing circles to sci-fi & cyborgs - and the butch beyond. The images are carefully curated, and the language is witty. ButchCamp is an important archiving project that highlights and celebrates the queer form — ephemeral though its contours are — that is butchcamp.

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Neon Hauntings: Gender, Bodies and Terrain in Blade Runner

Just as architecture is never devoid of signification or of discourse, the female body is always a site upon which a complex politics is at work. The nostalgic-dystopic politics of Ridley Scott’s Blade Runner are mapped explicitly onto the film’s neon-lit landscape, and are articulated through the bound or bloodied female bodies that inhabit it.

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Interview with Tangerine Director Sean Baker

Tangerine (2015) is loud and brash and bright, a highly-saturated but also exquisitely beautiful account of strange encounters, an LA underbelly and female friendship. Shot entirely on an iPhone 5s, Sean Baker’s film focuses on one Christmas Eve in the lives of two trans sex workers – Sin Dee Rella and her best friend Alexandra.

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Leonard Cohen and Me: The Anti-Muse Manifesto

Many a bespectacled boy has tricked me (as in, I tricked myself) into believing there was a direct correlation between the glass and plastic on his face and above-average intelligence. Chances are, it had more to do with imperfect vision. I often find myself thinking that men who read must have high emotional intelligence, but more often than not they’ve never read outside the White Male Genius Canon in their lives, and wouldn’t know nuance if it smacked them in the face (subtly).

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Prospero and Yellow String: Carré's Embers

Like all good science fiction, Claire Carré’s Embers transcends its genre. It does not bask in its temporality nor its teleology, rather, it renders fragments of experience visceral and haunting without weighing itself down with plot drive and resolution.

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Petrified: Fassbinder, Jetzt - Annotated

Curation at its least effective is often, like this, an elaborate petrification. A body of work – or the material remnants of a body who worked – are removed from time and re-rendered, fossilized, in a way that voids them of their dynamism and potency.

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