Polaroids of Adrien Brody, Jason Schwartzman, and Owen Wilson on the set of The Darjeeling Limited
Jeff Buckley (November 17th 1966 - May 29th 1997)
You know why I need feminism? Truly? If I were to make a sign? Because my own life is a testament of why feminism is still needed, critical, and completely and utterly necessary. In a single night I have been told: I am too stupid to function because women’s brains aren’t very large and all the extra knowledge has made me crazy; I am a failure because I’m twenty-something and I can’t control my night terrors (that I have due to the violence); I deserve all the awful things that have happened to me in life because I was born with a bad, blackened, and evil witch soul; No one will ever love me, and I will never amount to anything. This is because I come from a cultural consciousness where daughter’s lives are seen as the avenues in which women who never got to realize their own dreams and potential can embed their own entire life’s worth. Where there is absolutely no leniency for fault or pleasure—— any strand of humanness is seen as dishonor. My life is accumulation of a heritage of women who police one another’s bodies carousing in the mythology that one’s body fitting into tying and controlling systems of feminine virtue and “morality” is inexorably linked to self-validation. I am a product of a culture that does not believe in mental health. I am the animated mannequin of a cultural script that does not believe women were made to be independent and autonomous.
The solo exhibition “Thinking Matters” — which represents another step in Nikolaus Gansterer’s visual research — explores in detail the relationship between drawing, thought and action. His work is a true example of interdisciplinary studies; it is the result of a close confrontation between socio-humanistic, scientific and artistic disciplines from which the artist takes single methodologies and applies to these his unique, higly personal artistic language. The result of this work is an installation which occupies the entire space: the work is composed of autonomous elements which, contemporaneously, are tiles of a vaster mosaic which the artist has developed specially for the gallery space.
I’ve been thinking of Queer Art—the w’s and the how unremittingly through the last academic year. I think I finally had a break through today: I’m not greatly interested in art that indulges the senses. Rather, I am fascinated by art that excites the senses, mostly through direct shock of the jaded and mundane sensorium. What is shocking also is inexorably related to the dangerous. Danger, in polysemous definitions, most easily can be explained as both breaking the boundaries of our bodies and in the deconstructing of our literal and metaphorical prescriptive moral limitations. (Obviously, dangerous is also subject). All art is the mimesis of bodies. What then becomes shocking art is when art reveals what the body truly does and creates and then the mind, or artist or authority, cognitively performs. What then, in a post-Madonna, post-rock god suicides, post-two girls and once cup, is shocking? This is where I believe Queer art, especially one that displays, revels, and exerts the Queer body is the solution and the apex of a new needed art movement. The very notion of Queer art is a dangerous one for those who have vested interest in controlling a narrative of heteronormative performance and desire. But what really frightens the shit out of conservatives is the generation of art from Queer bodies as a replacement for the coupling of bodies for the sake of children. I would argue, Queer Art is the process and concept of the annihilation of the prescribed worship of the human body as vessel and vehicle. Rather, in contrast, Queer art, especially body performance, concerns itself with than ephemeral and transient, disinterested in “immortality” through biology. Immortality, or entrapment into the virtue, is not the new virtue of art. The literal staging, framing, and sashaying becomes the new Queer Art virtue. Queer Art as a source of asexual reproduction. Queer art, created in communities (such as the notorious and glorious Bad Kids Collective) is made, collectively, through self-created and configured family structures without the intrusion of physiology and the physical parameters of body. (ANTI-MEMISIS. PRO-QUEER MITOSIS), Queer Art then is the construction of a “dangerous” type of art and aesthetic that can be overtly sexual beyond the morality codes and ethics of the narratives that have been upheld in the Western consciousness. The Queer is disinterested in the preservation of the aura in secrecy. Rather, the Queer revels in being seen, heard, touched, and displayed. Art no longer becomes artifacts for the voyeur. Art becomes the body uninhibited, exposed and demonstrated in an unapologetic manner. Only by becoming hyper aware of performance, can the performance be then analyzed and perfected. Further, I am interested in how penetration (into the social psyche), forced ingestion (the stupification of an unavoidable popular culture) (onwards and onwards go the metaphors) can be remedied through Queer Art. Queer art’s healing properties are found within healing the stolen Queer tactics by the cultural industries and by smashing them with stilettos.