Marilou Vomvolou, BDSM Project – Stories of Tenderness (2020)
This ins’t a project about BDSM. It is a project about liquidity. The liquidity of boundaries, desires, the self. This isn’t a statement in favor of some subject. It is a statement in favour of freedom. The liquidity in the fluids, in the bodies, in the souls. This isn’t a project about sex. It is a project about the beauty of asymmetry. About the terror and the happiness of the fall. For all of those who fight to not be afraid of “all the mud, all the shining of their soul.”
Please note: this is a sound piece that is not accompanied by visuals
Alexandre Liberato, Before the Insurgency (2019)
Liberato’s intention with this series is to crystallise the moment of self-awareness, just before the turning point of a personal revolution, the moment we let go of our fears, and draw attention to the importance of recognising the limitations of gender categorisation in society. The photographs used in the works deliberately provoke the viewer, hopefully encouraging a dialogue on this subject. What would change if the model depicted were a male? The future will only take place if we acknowledge the restrictions of an imposed gender stereotype as the fundamental step towards the construction of new models of universal emancipation.
Ally Zlatar, Constraint (2020)
Zlatar’s artistic voice comes from a profound understanding of both the illness, philosophical knowledge, and educational institution experience. Her work is inextricably connected to her experience of eating disorders. Thinness equated to happiness and fulfilment reflects a distorted relatonship with food, weight and body image. Her work deals with the internalised stuggles of the disease. Inscriptions on the flesh reveal the inner torment. These marks appear as the artist’s statement on the body as an ongoing project related to the struggling and effort needed to shape one’s own identity.
James Leo Ramsey, Stitch.mp4 (2019)
“Stitch.mp4 is an animation sparked during an invasive pre-operative assessment with my surgeon prior to top surgery in 2019. The surgeon discussed the process of the patient (unforgettably, me) being held up as if crucified while unconscious and on the table. I focused on conflicting feelings of sacrifice, grief, freewill, choice, self-harm and modification. I attempted to discern which of my own actions were hurting and/or helping. The video was made during my recovery period, in which limited, T-Rex-like arm movements led me to animation. The fear did not dissipate until the video was completed.”
Antonis Sideras, The failure of sex (2020)
For what seems like forever, heterormative and colonial attitudes have limited the way in which we look at queer identities and sexualities. The failure of sex aims to subvert these tropes, by presenting the efforts of two queer characters to question the binaries surrounding their encounter. Bad acting and a trash aesthetic become vital devices in capturing the uncharted territories of queer love and lust in the 21st century.
Antonis Sideras & Joshua Evan, Queerrot’s Diary (2020)
“If you haven’t visited this site, you’re trash! Bow down to our lord and saviour, Queerrot (they/them). The first time I saw Queerrot was in London back in 2017. Ever since, I’ve followed them everywhere they’ve performed. Yes, that’s all of the cabarets, the art shows and film-fests and I’ve kept a diary. My poor love has been longing for company all this time, yet I can’t easily express my feelings toward them. Queerrot’s Diary is my virtual shrine of worship. You can explore Queerrot’s performances and engage with exclusive footage I’ve gathered and more special content. xoxo, Tinkerbell”
Theo Ilichenko, Critical Wounds (2016)
Its focus is on self-injury as an expression of mourning and resistance in response to a traumatic event, such as death and gendered violence. While auto-aggression is sometimes part of traditional mourning rituals, the link between self-injury and gendered violence, with the symbolic mourning of the self it entails, is often overlooked. “I draw upon the conscious use of self-injury within feminist and queer art as an empowerment strategy, in order to approach self-harm as an ambivalent means of, at the same time, healing, oppression (social conditioning) and political protest, and to explore queer paths of transformation of violence and reclaiming agency.” The video is based on a performative interpretation of approximately 10 self-aggressive gestures that repeat within the contexts of anthropology, psychiatry, performance art and politics/activism.
Cinematography / collaboration: Moritz Metzner