CUCETA – The Culture Queer of Solange Tô Aberta, http://www.youtube.com/watch?v=sgAQ1WKkujI Solange, tô aberta (Solange, estoy abierta) es un proyecto de Pedro Costa en formato de show, estilo baile funk (originario de las periferias de Río de Janeiro) que mezcla queer, punk, drag y posporno con el sonido del de funk carioca. Utiliza el funk como […]
Bruce LaBruce: Super 8 1/2 (1993)
LaBruce stars in this vaguely autobiographical look at a triple-X star-director caught in the downward spiral of his career. Remarks Googie, the art-house auteur who’s either exploiting LaBruce or launching his comeback, “He was actually attempting to break down the whole subject-camera relationship… It was as if he was an existentialist trapped in a porno star’s body.” Well, almost.
Laura Cottingham: Not For Sale (1998)
A video essay uses primary footage to document the stories, challenges and acheivements of the women who, in the 1970s, attempted to transform the underlying tenets of fine art of fine art beyond terms dictated by a sexist ideology. Includes over 100 visual artists.
Marina Gržinić/Aina Šmid: The Threat of the Future (1983)
With the song by Yello “Pin ball cha cha” and the singer that invites us to watch by singing “Come, come closer to me, I tell you man you will see…” we enter in the dance performed by Marina Grzinic. The public is in relation to the dance as in a peep show, implying a pornographic camera eye but as well a certain cannibalisation/pornographic perpetuation of our lives by the law and mass media that from 1980s will transform the paradigm of society and discipline into society and control. Therefore we have a duplication of roles, Marina Grzinic and Aina Smid in front of the camera as in some kind of cinema verite (talking about their sexual lives and lesbian attitudes) and Grzinic/ Smid on the TV behind them as a night show.
Abigail Child: Mayhem (1987)
Through a catalogue of looks, movements, and gestures, Mayhem presents a social order run amok in a libidinous retracing of film noir conventions. Sexuality flows in an atmosphere of sexual tension, danger, violence, and glamour; antagonism between the sexes is symbolized in the costuming of women in polka dots and men in stripes. Censored in Tokyo for its use of Japanese lesbian erotica, this tape creates an image bank of what signifies the sexual and the seductive in the history of imagemaking, pointing to the way we learn about our bodies, and how to use them from images.
Ulrike Ottinger: Freak Orlando (1981)
In the form of a “small theater of the world”, a history of the world from its beginnings to our day, including the errors, the incompetence, the thirst for power, the fear, the madness, the cruelty and the commonplace, in a story of five episodes.
Marissa Lôbo: Fuck you queer white supremacy celebration! (2012)
The video performance developed and performed by Marissa Lôbo in collaboration with Nataša Mackuljak, Alessandra do Santos Silva, Xhejlane Rexhepi and Noemi Auer is an intervention on Colonial desire and otherness, sexuality, racialized bodies, contra esthetic, migrant-precarious bodies, sex work, society double moral, and the regime of Western bodies politics. Marissa Lôbo is a migrant black activist and […]
Katia Sepulveda: Pascha Revolution (2011)
Performance on February 14th 2011, Cologne, Germany, 12:30 p.m. “Anticapitalism of love” with Amy Rush. Sepulveda and Rush are having sex at the main entrance of Pascha”, the biggest brothel in Cologne, intervening the „power architecture“, and the hyper-heteronormativity they represent. Katia Sepulveda’s work focuses on questions related to sex, gender and sexuality, resistance to […]
Voina: Kissing the police (2011)
In 2011, performance artists ‘Voina’ were focusing their efforts on reforming Russian women police officers. Armed with hugs and kisses, the artists thrown their arms around and kissed several hundred officers, claiming they want the ‘girls in blue to be more relaxed and feel liberated. Voina (Russian: Война = War) is a Russian street-art group […]
Stephanie Wynne/Ta’Shia Asanti: Rashida X (1997)
The fictional character Rashida X, a black revolutionary activist lesbian chronicles the events leading to her imprisonment. Ta’Shia Asanti is a writer, poet, journalist, TV producer and filmmaker. She is recipient of the Audre Lorde Black Quill Award for Creating Positive Images of Black Women in the Arts. https://www.youtube.com/watch?v=zq8jzHjlcmg
Shu Lea Cheang: I.K.U. (2000)
Shu Lea Cheang is best known for her 2000 cult smash I.K.U. in which sensual cyborgs fuck for information and pleasure. The film, heavily influenced by Blade Runner, is perhaps the first cyperpunk movie to radically explore the possibilities of cybernetic sexualities. The pioneer in the field of media art embraced internet and hacking culture early on, recognizing both its capacity to enslave as well as liberate, mixing that with queer and sexually explicit imagery bringing something new to the cultural landscape. Cheang describes herself as both a “cyberhomesteader” and a “high-tech aborigine” hinting at meta-levels of not only her own life, but the worlds of her films.
Sanja Iveković: Triangle (1979)
Sanja Iveković’s Triangle is an 18-minute performance that took place on 10 May 1979: while Yugoslavian president Josip Broz Tito’s motorcade passes by below, the artist is sitting on her balcony, reading a book, sipping whiskey and making ‘gestures’ as if performing masturbation, until a security official arrives and asks her to leave. Exhibited as four black-and-white photographs and a short descriptive text, Triangle is one of the most resonant and defiant works of performance made in the 1970s.
Monica Treut: Virgine Machine (1990)
Dalila Kadri: Lucioles (2004)
Marlon Riggs: Tongues Untied (1990)
Marina Gržinić/Aina Šmid: Relations. 25 years of the lesbian group ŠKUC-LL, Ljubljana (2011)
Muestra Marrana: Renueva tu imaginario pornográfico
