SECOND SKIN HARNESS by Sara Manente, Inju Kaboom and Günbike Erdemir
Framed as inescapable, indescribable, uncontrollable and essential, economies are everywhere. Oppressive and enabling, lucrative and undervalued, there are economies that trade our emotional labour, desires, love, fertility, time, minds, queerness, politics and clicks. There are economies that we can control and that control us, and those that we can subvert to serve our collectives. A mark, a yen, a buck or a pound, in a conversation with a cat, an app-enabled journey through a rainy Shanghai night, in the margins between intimacy and power, in the kitchen, with your record collection, under the tip of the iceberg, at the foot of a tower she built, dancing at the lesbian bar.
Well I was dancing at a nightclub one Friday night And that nightclub bar was a little uptight Yeah, I was dancing all alone a little self-conscious When some kids came up and said “for dancing come with us.” And soon…
I was dancing in a lesbian bar, ah-oo, ah-oo I was dancing in a lesbian bar, ooh, ooh, ooh – Jonathan Richman, “I Was Dancing in the Lesbian Bar”
YouTube is not just a repository for animal videos (although, in all honesty, I find those emotionally uplifting and worthwhile). It's also one of the primary, already existing visual archives of queer and trans culture. Because of violence and marginalization, so many of our ancestors didn't have access to the institutions that make creative work permanent or longstanding, be that publication or preservation. But, throughout the last half-century, people have documented their friends, lovers and communities performing, talking, simply existing.
Dear Lovers, Sisters, Brothers, Mothers, Adopted Aunts, Long Lost Fathers, Halfcousins, Wives, Black Sheep and Partners In Crime,
We’re happy to announce the birth of a new issue –aptly themed FAMILY – which is seeing the light this weekend in Brussels.
We have a pretty pregnant programme...
Sturm-Frauen, an exhibition at the Schirn Kunsthalle in Frankfurt this winter, was a mind-blowing show of female artists working in Berlin between 1910 and 1932. I frantically snapped pix on my phone the whole way through the show. The must-have catalogue was sold out at the museum, but may still be available from the publisher. Above all, I was stunned by the work of artist Lavinia Schulz. Schulz was a wildly talented performance artist, the Mike Kelley of her time. She was so far ahead of the curve that she could barely live in her time, plagued perpetually by poverty and misunderstanding, but an artist of total brilliance and scope.
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