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Jean Cocteau, poet, dramatist, screenwriter, and novelist. Cocteau is best known for his novel Les Enfants Terribles (1929) and the films Blood of a Poet (1930), Les Parents Terribles (1948), Beauty and the Beast (1946) and Orpheus (1949).

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Jean Cocteau, poet, dramatist, screenwriter, and novelist. Cocteau is best known for his novel Les Enfants Terribles (1929) and the films Blood of a Poet (1930), Les Parents Terribles (1948), Beauty and the Beast (1946) and Orpheus (1949).

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Poems, readings, poetry news and the entire 110-year archive of POETRY magazine.

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Current exhibition: 'Re/Assemble'. People's History Museum. This new exhibition explores the 1988 Section 28 protest in Manchester and features new artwork commissions that respond to its legacy.

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Current exhibition: 'Re/Assemble'. People's History Museum. This new exhibition explores the 1988 Section 28 protest in Manchester and features new artwork commissions that respond to its legacy.

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Powered By Reason - poweredbyreason.co.uk

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Kenneth Anger, filmmaker. Pioneer of avant-garde film and video art. His iconic short films are characterised by a mystical-symbolic visual language and phantasmagorical-sensual opulence that underscores the medium’s transgressive potential. 

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Kenneth Anger, filmmaker. Pioneer of avant-garde film and video art. His iconic short films are characterised by a mystical-symbolic visual language and phantasmagorical-sensual opulence that underscores the medium’s transgressive potential. 

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Federico García Lorca, poet, playwright and theatre director. His lyrical work often incorporates elements of Spanish folklore, Andalusian flamenco and Gypsy culture, and cante jondo, or “deep song,” while exploring themes of romantic love and tragedy.

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Federico García Lorca, poet, playwright and theatre director. His lyrical work often incorporates elements of Spanish folklore, Andalusian flamenco and Gypsy culture, and cante jondo, or “deep song,” while exploring themes of romantic love and tragedy.

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Born near Granada in Fuente Vaqueros, Spain, to a prosperous farm owner and a pianist, prominent 20th-century Spanish poet and dramatist Federico García Lorca studied law at at the University of Granada before relocating to Madrid in 1919 to focus on his writing. In Madrid he joined a group of avant-garde artists that included Salvador Dali and Luis Buñuel. The group, collectively known as the "Generation of '27," introduced Lorca to Surrealism, a movement that would greatly influence his writing.

Lorca published numerous volumes of poetry during his career, beginning with Impresiones y paisajes (1918). His lyrical work often incorporates elements of Spanish folklore, Andalusian flamenco and Gypsy culture, and cante jondos, or deep songs, while exploring themes of romantic love and tragedy.

With the publication of his poetry collection Romancero Gitano, or Gypsy Ballads (1928), Lorca received significant critical and popular attention, and the following year traveled to New York City, where he found a connection between Spanish deep songs and the African American spirituals he heard in Harlem. When he returned to Spain he co-founded La Barraca, a traveling theater company that performed both Spanish classics and Lorca's original plays, including the well-known Blood Wedding (1933), in small town squares. Despite the threat of a growing fascist movement in his country, Lorca refused to hide his leftist political views, or his homosexuality, while continuing his ascent as a writer.

In August 1936, at the onset of the Spanish Civil War, Lorca was arrested at his country home in Granada by Francisco Franco's soldiers. He was executed by a firing squad a few days later.

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Federico García Lorca | Poetry Foundation

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Born near Granada in Fuente Vaqueros, Spain, to a prosperous farm owner and a pianist, prominent 20th-century Spanish poet and dramatist Federico García Lorca studied law at at the University of Granada before relocating to Madrid in 1919 to focus on his writing. In Madrid he joined a group of...

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'Neuro-Futurism and Re-imagining Leadership. An A-Z Towards Collective Liberation' by Kai Syng Tan. Info on the book is here. If you would like the link to the PDF Kai has shared with me, let me (Chester) know.

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'Neuro-Futurism and Re-imagining Leadership. An A-Z Towards Collective Liberation' by Kai Syng Tan. Info on the book is here. If you would like the link to the PDF Kai has shared with me, let me (Chester) know.

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BOOK: ‘Neuro-Futurism and Re-Imagining Leadership’ (Palgrave Macmillan 2024) – ARTFUL AGITATION

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Read about the book (published 07/2024) and reviews on this page. Order book here (hardcover with 39 colour plates GBP £34.99; e-book £27.99, with hyperlinks to catapult readers to further re- and dis-order the book). Read book review by tattooist-design-scholar 12/2024. Join global book tour 2025 and read about feedback for performance-lecture. See films and photos of UK launch 09/2024. Get in touch to book a performance-lecture, discussion, book signing and more. See everything in one place about the book here. CITATION: Tan, K.S. (2024) Neuro-Futurism and Re-Imagining Leadership: An A-Z Towards Collective Liberation. Palgrave Macmillan.

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Conversations - Walker Art Gallery. An exhibition bringing together work by around 40 leading Black women and non-binary artists. 19th Oct 2024 - 9th Mar 2025

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Conversations - Walker Art Gallery. An exhibition bringing together work by around 40 leading Black women and non-binary artists. 19th Oct 2024 - 9th Mar 2025

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19 Oct 2024—9 Mar 2025

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This ambitious exhibition brings together work by around 40 leading Black women and non-binary artists who are transforming contemporary British art today.The exhibition will ask poignant questions about the present and aims to provide a moment of celebration and joy centred around artists working in the UK.Conversations will include paintings, sculpture and video from the last ten years, with many works selected for display by the artist themselves.

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Past exhibition: 'Queer Spaces: London 1980's - Today'. Whitechapel Gallery (2019)

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Past exhibition: 'Queer Spaces: London 1980's - Today'. Whitechapel Gallery (2019)

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Hannah Quinlan & Rosie Hastings, The Scarcity of Liberty #2 , 2016. Cork board mounted on wooden frame, magazine pages, pins. Courtesy the artists and Arcadia Missa

Archive
Queer Spaces: London, 1980s - Today

2 April - 25 August 2019
'...if a key value of queer venues has been to provide a safe space in which to organise and gather information, then it seems that the Whitechapel Gallery will become, if only for a few months, London's newest queer space.' The Art Newspaper 'A wonderful celebration of queer culture' Queer Guru 'The exhibition comes at a time of crisis for LGBT venues.' The Guardian
Vigils with drag artists and musicians, meticulously researched heritage listing applications, a tongue-in-cheek 'funeral' for much loved nightlife spot - these are some recent activist tactics employed to resist market-led redevelopment of LGBTQ+ spaces in London.

In the 1980s, campaigning groups and social spaces proliferated alongside a growing LGBTQ+ rights movement. But are London's queer spaces -whether bars, community centres, cabarets or cruising areas - now under threat?

This display focuses on the rarely seen archives of LGBTQ+ venues and social networks collated by University College London's Urban Laboratory, who also contribute an interactive map charting the appearance and disappearance of spaces over the last 30 years.

Among the featured case studies are the London Lesbian and Gay Centre and Black Lesbian and Gay Centre, both running in the 1980s and '90s; Glass Bar (1995-2008), a space in Euston for anyone identifying as a woman; and venues such as The Joiners Arms, The Black Cap and The Royal Vauxhall Tavern that are the subject of current campaigns against redevelopment. Together, they reveal the radical inventiveness and creativity of London's LGBTQ+ communities since the 1980s.

At the same time artists Tom Burr (b. 1963, USA), Ralph Dunn (b. 1969, UK), Evan Ifekoya (b. 1988, Nigeria), Hannah Quinlan & Rosie Hastings (both b. 1991, UK), Prem Sahib (b. 1982, UK) and others give their perspectives on 21st century cityscapes of sociability and self-expression.

#QueerSpaces

Related events

Find out more

Read the press release

The Whitechapel Gallery Archive Exhibitions are generously supported by Catherine Petitgas.

Support Sponsor:

A club night will be hosted in parallel with the exhibition in collaboration with Miranda at Ace Hotel London, who have made discounted rooms available for Whitechapel Gallery audiences.

With additional support from the Queer Spaces Exhibition Circle:

Darryl de Prez and Victoria Thomas

Marcelle Joseph

Russell Tovey

and those who wish to remain anonymous

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Queer Spaces: London, 1980s - Today - Whitechapel Gallery

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Hannah Quinlan & Rosie Hastings, The Scarcity of Liberty #2 , 2016. Cork board mounted on wooden frame, magazine pages, pins. Courtesy the artists and Arcadia Missa 2 April - 25 August 2019 '...if a key value of queer venues has been to provide a safe space in which to organise and gather information, then it seems that the Whitechapel Gallery will become, if only for a few months, London's newest queer space.'

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'Dragging Away: Queer Abstraction in Contemporary Art'. Lex Morgan Lancaster.

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'Dragging Away: Queer Abstraction in Contemporary Art'. Lex Morgan Lancaster.

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Dragging Away: Queer Abstraction in Contemporary Art argues that abstraction is a tactic of queering in contemporary art that contributes to critical politics of gender, sexuality, and race, while refusing oppressive representational logics.

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'Queer Art: From Canvas to Club'. Gemma Rolls-Bentley

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'Queer Art: From Canvas to Club'. Gemma Rolls-Bentley

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Writing — Gemma Rolls-Bentley | Curator | Author | Consultant

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Gemma is the author of Queer Art: From Canvas to Club, and the Spaces Between, which was published by Quarto in May 2024.

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Ajamu X, artist. His philosophical provocations and aesthetics celebrate black queer bodies, the erotic senses, pleasure, and the sensual - material attributes of image production. 

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Ajamu X, artist. His philosophical provocations and aesthetics celebrate black queer bodies, the erotic senses, pleasure, and the sensual - material attributes of image production. 

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'Trans Hirstory in 99 Objects'. Chris E Vargas

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'Trans Hirstory in 99 Objects'. Chris E Vargas

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Contributions by K. Bornstein, R. Brodell, V. Davis, L. DeVun, M. B. Dick, Z. Drucker, D. Getsy, M. Gutierrez, A. Jenkins, J. Guarano Kuriki-Olivo (Puppies Puppies), T. (T.) Jean Lax, A. J. Lewis, M. A. López, A. Mac, C. Metzger, D. A. Miranda, M. M. Page, SA Smythe, C. Riley Snorton, D. Spade, S. Stone, J. Tang, M. Tea, McKenzie Wark u. a.

304 pages, 287 colour illustrations
19.4 x 25.4 cm, 7 1/2 × 10 in., paperback with flaps

HIRMER PREMIUM
Structured paper, gold printing, relief varnish

Queer, Contemporary Art, 20th Century, 21st Century, Gender, Sexuality, LGBTQ, Trans, MOTHA

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david evans frantz| christina linden| chris e. vargas

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Wirth & Horn - Informationssysteme GmbH - www.wirth-horn.de

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Trans Hirstory in 99 Objects - Softcover Edition - Dieser Band stellt eine breit gefächerte Auswahl von Kunstwerken und ...

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Cassils, a transgender artist who makes their own body the material and protagonist of their performances.

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Cassils, a transgender artist who makes their own body the material and protagonist of their performances.

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Summary

Born Toronto, Canada
Raised Montreal, Quebec
Lives in Los Angeles, California, USA

Education
2002 MFA Art and Integrated Media, California Institute of the Arts, Los Angeles, CA
1997 BFA Nova Scotia College of Art and Design, Halifax, NS, Canada
1996 Ecole Nationale Superieur des Beaux Arts, Paris, France

Awards, Grants, and Fellowships

2019‍
Canada Council for the Arts Explore and Create Grant
Canada Council for the Arts Touring Grant
Canada Council for the Arts Travel Grant

2018
Fellowship, The Rockefeller Foundation, Bellagio CenterCanada Council for the Arts Explore and Create Grant
Canada Council for the Arts Touring Grant
Canada Council for the Arts Travel Grant
United States Artists Fellowship
Herb Alpert/MacDowell Fellowship, Theater

2017
John Simon Guggenheim Fellowship
COLA Individual Artist Fellowship
Canada Council for the Arts Concept to Realization Grant
Canada Council for the Arts Travel Grant

2016
Alpert Visiting Artist Fellowship, Syracuse University
Foundation for Contemporary Art Emergency Grant

2015
Creative Capital Visual Artist Award
Canada Council for the Arts Media Arts Grant
Canada Council for the Arts Inter-Arts Touring Grant
Canada Council for the Arts Inter-Arts Travel Grant

(for more, see full CV)

Solo Exhibitions

2020
Walter Phillips Gallery, BANFF Center for Arts and Creativity, BANFF, Canada

2019
Perth Museum of Contemporary Art, Australia

2018
Station Museum, Houston, TX

2017
Ronald Feldman Fine Arts, Monumental, New York, NY
National Gallery of the Republic of Macedonia, ExPEAUSition, Skopje, Macedonia
Bemis Center for Contemporary Art, Cassils: The Phantom Reverent, Omaha, NE

2016
Pennsylvania Academy of Fine Arts, Melt/Carve/Forge: Embodied Sculptures by Cassils, Philadelphia, PA
School of the Museum of Fine Arts, Tufts University, Breaking News: Cassils, Boston, MA

2015
MU, Incendiary, Eindhoven, The Netherlands

2014
Trinity Square Video, Cassils: Compositions, Toronto, Canada

2013
Ronald Feldman Fine Arts, Body of Work, New York, NY

Group Exhibitions

2020
Craft Contemporary, The Body, The Object, The Other, Los Angeles, CA
Gardiner Museum, RAW, Toronto, CA
Barbican, Masculinities: Liberation Through Photography, London, UK
The Armory Show, Ronald Feldman Gallery, New York, NY
Zentrum für Zeitgenössische Kunst at Syker Vorwerk, Fluidity, Berlin
Tang Museum, Skidmore College, FLEX, Saratoga Springs, NY
Ackland Art Museum, University of North Carolina at Chapel Hill, Trans/American: Gender, Identity, Appearance Today, Chapel Hill, NC

Wellcome Collection, Being Human, London, UK (Permanent Exhibition)
Pennsylvania Academy of Fine Arts, Ancient History of a Distant Future, Philadelphia, PA
Art Gallery Burlington, The Gender Conspiracy, Burlington, Ontario
Dark Mofo, A Forest, Hobart, Tasmania
The McNay Art Museum, Transamerica/n: Gender, Identity, Appearance Today, San Antonio, TX
Annenberg Space for Photography, For Freedoms, Culver City, CA
Artothèque of Strasbourg, Corps-à-Coeurs, Strasbourg, France
French National Museum Mucem, Shall We Dance, Marseille, France
MASS MoCA, Suffering from Realness, North Adams, MA\
Oakland Museum of California, Queer California: Untold Stories, Oakland, CA
The Cathedral Church of St. John the Divine, Building A House Without Walls: The Value of Sanctuary, New York, NY
Gazelli Art House, It's Not Me, It's You, London, UK

2018
Museum of Contemporary Art, Blessed Be: Mysticism Spirituality, and the Occult In Contemporary Art, Tucson, AZ
Bureau of General Services-Queer Division Division, Cast of Characters, New York, NY
Navel, Queer Biennial, Los Angeles, CA
SOMA Arts, A History of Violence, San Francisco, CA
Los Angeles Municipal Art Gallery, City of LA Individual Artist Fellowships Exhibition, LosAngeles, CA
VCU Institute for Contemporary Art, Declaration, Richmond, VA
Houston Center for Photography, Margin and Center, Houston, TX
Kunstpalais, Altered Substances, Erlangen, Germany
Boehm Gallery at Palomar College Ceramic Biannual, Humanize, San Diego, CA
Leslie-Lohman Museum of Gay and Lesbian Art, Haptic Tactics, New York, NY
University of Victoria Transgender Archives, Trans Hirstory in 99 Objects, Victoria, BC
National Gallery of Art, Sopot, Poland, January

2017
Everson Museum, Seen & Heard, Syracuse, NY
P.P.O.W., Visual Notes From An Upside Down World, NY, NY
Ronald Feldman Fine Arts, Art on the Front Lines, NYC, NY
SOMArts, Self to #Selfie, San Francisco, CA
Madison Museum of Contemporary Art, Digital Aura, Madison, WI
Leslie-Lohman Museum of Gay and Lesbian Art, Expanded Visions: Fifty Years of Collecting, New York,NY
Beall Center for Art and Technology, UC Irvine Claire Trevor School of the Arts, Masculine ← → Feminine, Irvine, CA
Wignall Center for Contemporary Art, Chaffey College, Man Up! Masculinity in Question, Rancho Cucamonga, CA
Los Angeles Contemporary Exhibitions, The Ecstasy of Mary Shelley, Los Angeles, CA

(for more, see full CV)

Screenings

2018
Wiener Festwochen, Vienna, Austria, Inextinguishable Fire, , Fast Twitch// Slow Twitch

2017
Outsider Festival, Early Career Retrospective: Cassils, Austin, TX
M+, at West Kowloon, Hong Kong, China, Inextinguishable Fire
2016
Live Art Development Agency, at Venice International Performance Art Week, The Powers That BeInternational Film Festival Rotterdam, Rotterdam, The Netherlands, Cuts: A Traditional SculptureSundance Film Festival, New Frontiers, Park City, UT, Inextinguishable Fire

2015
UNSW Galleries, Sydney, Australia, Museu da Imagem e do Som, São Paulo, Brazil, Fort Mason Center for Art & Culture, San Francisco, CA, ANTI Contemporary Performance Festival, Kuopio, Finland, Inextinguishable Fire/Hard TimesMuseo de Arte y Diseño Contemporáneo, San José, Costa Rica, Asian Experimental Video Festival, Hong Kong, China, Festival Ciné à Dos, Koulikoro, Mali, Art Cinema Zawya, Cairo, Egypt,
2014
SOMA Cultural Center, San Francisco, CA,
Cultureel terras de Kaaij, Nijmegen, The Netherlands, 3e Festival Everybody's Perfect, Geneva, Switzerland, Fast Twitch//Slow TwitchNewfest Gay and Lesbian Film Festival, New York, NY, Conversations
‍Outfest Los Angeles Gay and Lesbian Film Festival, Los Angeles, CA, Conversations
Counterpulse Theatre, San Francisco, CA,
2013
Institute for Contemporary Art, London, UK, Fast Twitch//Slow Twitch
2012
Armory Center for the Arts, Pasadena, CA Fast Twitch//Slow TwitchDirty Looks On Location Festival, New York, NY, Fast Twitch//Slow Twitch 2008
International Film Festival Cinema Le Melies, Art Center of the Maison, Paris, France, 10104 Angelo View Drive
‍Palms Festival, Palm Springs, CA, 10104 Angelo View Drive

Live Performances

Gardiner Museum, Toronto, Canada, Up To and Including Their Limits
Centre Pompidou, Paris, France, Becoming an Image
SMOQUA-Festival of Feminist and Queer Culture 2020, Rijeka, Croatia, PRESSED
Banff Center for Arts and Creativity, Banff, Canada, Human Measure
Perth Festival, Perth Australia, Becoming an Image
Dark Mofo, Hobart, Tasmania,

2018
Station Museum, Houston, TX, ; performance featuring Cassils, Rafa Esparza, Fanaa, and Keijuan Thomas
Biosphere 2, Oracle, AZ, Cyclic, as part of Blessed Be: Mysticism Spirituality, and the Occult In Contemporary Art, Museum of Contemporary Art, Tucson, AZ; performance featuring Cassils, Ron Athey, and Fanaa
Wiener Festwochen, Vienna, Austria, Becoming an Image
Stanford University, Sweat Paintings
University of Victoria Transgender Archives, Victoria, BC, Becoming an Image

2017
Bemis Center for Contemporary Art, Omaha, NE, Monument Push
Bemis Center for Contemporary Art, Omaha, NE, Becoming An Image

2016
Pennsylvania Academy of Fine Arts, Philadelphia, PA, Becoming An Image
The Broad, Los Angeles, CA, The Powers That Be: Los Angeles
‍
2015
MU, Eindhoven, The Netherlands, Becoming An Image
SPILL Festival of Performance, closing performance, National Theatre, London, UK, Inextinguishable Fire
City of Women International Festival of Contemporary Arts, Ljubljana, Slovenia, Becoming an Image
ANTI Contemporary Performance Festival, Kuopio, Finland, The Powers That Be [210 Kilometers]
Fredric March Play Circle Theatre, University Wisconsin-Madison, Madison, WI, Becoming An Image

(for more, see full CV)

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CASSILS is a visual artist working in live performance, film, sound, sculpture and photography. Cassils has achieved international recognition for a rigorous engagement with the body as a form of social sculpture. Drawing on conceptualism, feminism, body art, gay male aesthetics; Cassils forges a series of powerfully trained bodies for different performative purposes.

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Jenkin Van Zyl, artist. World building, installation & film.

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Jenkin Van Zyl, artist. World building, installation & film.

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https://www.jenkinvanzyl.co.uk/home

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Article on 'Rebel Dykes' documentary. BFI. 

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Article on 'Rebel Dykes' documentary. BFI. 

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Rebel Dykes was only supposed to be a 10-minute Powerpoint presentation. Seven years ago, ahead of LGBT+ History Month, Siobhan Fahey (a Manchester-based activist, not to be confused with the singer of Bananarama) sat down with a handful of her mates and spoke to them separately about their memories of squatting, protesting and partying their way around south London in the 1980s.

Back then this part of the city felt slightly forgotten, and as house prices began to soar, word spread at the Greenham Common Peace Camp that hundreds of buildings lay empty in the capital. Soon an enterprising bunch of queer women from across the UK - Fahey among them - gravitated to areas like Brixton, Tulse Hill and Peckham to make the most of the free rent. From these community-minded squats, this motley crew of leather-clad punks printed scrappy, biro-scrawled zines, started riotous, ramshackle punk bands, opened London's first lesbian fetish club, and juggled raucous parties with protesting against Thatcher's government.

Thirty years later, Fahey wondered why nobody seemed to be documenting these rebellious activists, and so armed with a tape recorder, she began recording their stories herself. Originally, the idea was to preserve these conversations in an oral history project with a DIY ethos. Then Fahey showed her findings to a filmmaker friend to see if they could be turned into a short video. "I was like, hold on, I know these women that you're talking about, and how significant this is," co-director Siân A. Williams recalls. "This has to be a feature film, it's too good a story."

Riot Productions

Gripped by the piles of unseen photographs and untold stories, Williams rang up their friend and bandmate Harri Shanahan, and asked if they would co-direct a documentary about the group with Fahey as producer. "We've been in queer bands together and we'd always get pissed together and say: 'we need to make a film'," they laugh. "Here, all of the stars aligned between the three of us."

Aesthetically, Rebel Dykes is inspired by the rough-and-ready, collaged nature of the era's photocopied zines, like Shocking Pink and Feminaxe - mixing Shanahan's cartoon-style animation and filmed present-day interviews with original archive footage, photographs and DIY-minded re-enactments. "Rebel Dykes were energetic and handmade, and we wanted to take that energy and make it personal," Shanahan says.

Unsurprisingly, people's recollections of events like the Rebel Dykes' notorious BBC invasion varied quite dramatically - and since the BBC refused to provide footage of the studio invasion "due to the political nature of the film", showing the true shape of events sometimes proved impossible. Where footage didn't exist, the filmmakers re-enacted the rough outline of the moment in theatrical fashion.

"We came up with the idea of putting on masks and doing what the Rebel Dykes would do - make a performance out of it, and have fun. It's direct action with a message behind it. While we were doing more and more recreation it became another way of addressing gaps and absence in the archive," Williams explains. The result is fast-paced, high-energy look at a community of queer women who weren't afraid to be themselves amid an incredibly homophobic social climate, and helped to change the political shape of the world (with a huge number of hedonistic, antic-filled parties along the way)

Riot Productions

"We took our lead from the Rebel Dyke's way of doing things," Shanahan says. "If you want to advertise something, you draw it, stick it on a photocopier, and paste it on the bus stop. Everything tends to be quite rough and ready."

While an increasing number of fictionalised films and television shows have begun sharing UK LGBTQ+ history with the mainstream in recent years - Russell T. Davies' It's a Sin and the 2014 feature film Pride, for example - many of the dominant narratives still centre on the important activist work of cis gay men. Fewer stories centred on queer women's role are out there, and it's this lack of representation that persuaded the filmmakers to press on with Rebel Dykes, Shanahan explains. "I remember early on when we were just starting out, I went to an event at the BFI called Where Are All the Lesbians?" they remember. "A lot of filmmakers were saying, people won't fund us because they think it's too 'niche'. This idea that lesbian stories, queer women's stories, dyke stories, don't sell and there's not an audience for them... I'm really hoping we prove them wrong!"

"And if there's a gap in the historical record in the first place, there isn't that bank of material for a screenwriter to make a fictional film anyway, is there?" Williams points out. "So, at the very least, if this is opening some doors so that the next dyke Russell T. Davies can make a show, that'd be amazing."

Since this forgotten subculture of queer women didn't have a collective name, the trio came up with Rebel Dykes; a retrospective label that reflects the group's intersectionality. "It's a very inclusive umbrella," Williams explains, welcoming in "bi queers, trans queers and S&M queers". The inclusivity of the Rebel Dykes ethos, which included trans and non-binary people, feels particularly important to acknowledge in a time where a minority of lesbians today are seeking to sow mistrust, fear and exclusion of the trans community. These individuals don't speak for LGBTQ+ people as a whole, and as this documentary shows, lesbians have historically stood in solidarity.

Riot Productions

From here, the team began hunting down everyone they could find who ran with the Rebel Dyke circles in the '80s, interviewing photographers from the glossy, sex positive lesbian magazine Quim, members of the scene's crucial punk bands, and the founders of Chain Reaction - a night for S&M dykes hosting jelly wrestling competitions, sex shows and plenty of leather.

Many of the Rebel Dykes' sex positive antics met the ire of political lesbians, who accidentally helped to advertise the new club by smashing it up on opening week. On multiple occasions, the Rebel Dykes ended up splashed across the front pages, after abseiling into the House of Lords and that notorious invasion of the BBC News desk live on air. The latter direct action led to the quite surreal headline 'Beeb Man Sits On Lesbian'.

As you might expect, certain stories concerning "lots of theft and minor crime" didn't make it into the documentary for legal reasons, and an anecdote concerning a group of polyamorous lesbians whose falling-out culminated in a dildo fight was deemed that bit too "scandalous". Though the film covers a huge amount of historical ground, visiting the group's work with the grassroots HIV and AIDS campaigners Act Up and their demonstrations against Section 28 (which made it illegal to "promote" homosexuality in schools), there's plenty that didn't quite make the cut. Earlier this year, some of the footage was shown at the Rebel Dykes art and archive exhibition - and every recording, flyer and photograph has now been added to a brand new archive at London's Bishopsgate Institute.

In making Rebel Dykes, its co-directors say that they have taken away an important lesson about the power of sharing memories across generations. "Go and talk to older people," Shanahan concludes, "that's so important. Those are the conversations that we need to be having between generations, or we're not gonna solve our mutually held problems. All you need is a voice recorder, and you can make some oral history yourself."

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Inside Rebel Dykes: the previously untold story of a punk-minded lesbian subculture

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How a DIY documentary recaptured the liberating spirit and rebellious energy of London's post-punk lesbian scene.

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https://queercircle.org/whats-on/

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May 8 - 6.30-8.30 PM: Shanay Neusum-James: get your freak on May 15 - 6.30-8.30 PM: Rona Luo: blurring empire May 22 - 6.30-8.30 PM: David Nash: through the language glass May 29 - 6.30-8.30 PM: Michael McCann: out-of-body

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'Beryl Cook / Tom of Finland', exhibition. Studio Voltaire, London. 15th May - 25th August 2024

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'Beryl Cook / Tom of Finland', exhibition. Studio Voltaire, London. 15th May - 25th August 2024

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This major new exhibition, Beryl Cook / Tom of Finland, brings together the work of these two cultural icons for the very first time.
At Studio Voltaire, fleshly excesses are explored in pairings that underscore their works as playful and political. In pairing their work, including archival materials which have never been seen by the public, this two-person presentation will provide a significant refocus and reveal interconnected ideas surrounding gender, sexuality, taste and class.

Beryl Cook (b. 1926-d. 2008) was a painter renowned for her exuberant style and descriptions of everyday life. Her work captures the social milieu of the areas she lived in and visited, notably Plymouth. Her most enduring images are of larger-than-life women carousing in nightclubs, eating in cafés or enjoying ribald hen parties, rendered in graphic and colourful forms. Her work came to prominence in the mid-1970s and she quickly became known as one of Britain's best-loved artists, highly recognised for her distinctive works, which are both celebratory and provocative.

Tom of Finland's (b. 1920-d. 1991) pioneering depictions of homosexual machismo in his images of bikers, soldiers, cowboys, sailors and labourers broadly represent queer, leather and muscle communities. A master draughtsman, his works gave form to an imaginative universe that, in turn, helped fuel real-world liberation movements and had significant influence on a wide range of cultural figures including the Village People, Freddie Mercury, Jean Paul Gaultier and Robert Mapplethorpe.

Both artists have a distinct and coherent way of hyperrealising the body in images that fundamentally celebrate pleasure and deny shame. The exhibition further considers the means of dissemination employed by the artists during their careers: Cook's practice was widely reproduced in postcards, calendars and prints that brought her work into the homes of thousands of admirers, and Tom of Finland first published his work via proto-porn "fitness" magazines and a covert network of friends and followers. Often working outside of gallery and museum systems, they directly engaged with their audiences, gaining dedicated and enduring followings and subsequently impacting a wider popular culture.

The exhibition is made in partnership with The Tom of Finland Foundation and the family of Beryl Cook.

Opening preview: Tuesday 14 May 2024, 6-8 pm. Free, all welcome. No booking is required.

Headline Exhibition Supporter: David Kordansky Gallery and The Studio Voltaire Council.

Exhibition Supporters: Graham Steele and Ulysses de Santi, with additional support from The Beryl Cook / Tom of Finland Exhibition Circle, Paul Mellon Centre for Studies in British Art, Art Fund's John Ruffer Curatorial Grant and Hallett Independent.

Special thanks to John Cook, Teresa Cook, Durk Dehner, Sophie Howe, S.R. Sharp, Richard Villani, and all the lenders to the exhibition.

1. Born Beryl Francis Lansley in 1926 in Surrey, England. One of four sisters, she left school at fourteen and worked in the fashion industry, which inspired her life-long interest in the way people dress and how they look.

In 1943 Cook moved to London and became a showgirl in a touring production of The Gypsy Princess. She went on to marry John Cook and lived in Southern Rhodesia and later Zambia during the 1960s. It was here that Cook first began to paint, attempting the figurative style of Stanley Spencer. When Beryl was 40, she took up painting seriously. In 1975 had her first exhibition at the Plymouth Arts Centre. Within a few years, she was well known through exhibitions, television appearances, and the publication of the first of several collections of her work in book form.

Today, her works are held in the collections of the Gallery of Modern Art in Glasgow, the Bristol City Museum of Art Gallery, and the Plymouth City Art Gallery, among others. The artist has received retrospective exhibitions at Baltic Centre of Contemporary Art, Gateshead (2007); Plymouth City Art Gallery, Plymouth (2017); and A.H.F.T.A.W, New York (2022).

2. In his youth, Tom trained at an advertising school, but what he would come to call his 'dirty drawings,' which he first began developing as a teenager, were the true focus of his attention, both during this formative period and throughout the entirety of his life. These masterful renderings of virile men engrossed in acts of homoerotic desire can be approached along several interpretative lines - art historical, social, technical - but each of them points to the revolutionary nature of his project.

In recent years there has been a significant re-evaluation of his artistic practice. Previously somewhat dismissed as only of gay interest, his work has since been exhibited in galleries and public institutions (David Kordansky, LA; ICA, London; Metropolitan Museum of Art, New York; Artists Space, New York) and is in the permanent collections of The Museum of Modern Art, New York; Los Angeles County Museum of Art; and San Francisco Museum of Modern Art.

The estate is represented by The Tom of Finland Foundation - a registered charitable foundation based in LA; David Kordansky Gallery, LA; and Galerie Judin, Berlin.

3. Beryl Cook, Lady of Marseille, c. 1990. Image courtesy of the Beryl Cook Estate. © John Cook 2023.

Tom of Finland, Untitled, 1962 (From the Athletic Model Guild 'The Tattooed Sailor' series) © 1962 Tom of Finland Foundation.

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Beryl Cook / Tom of Finland - Studio Voltaire

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Explore a major new exhibition pairing the work of two cultural icons: Beryl Cook (b. 1926-d. 2008) and Tom of Finland (b. 1920-d. 1991), at Studio Voltaire, London in 2024..

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'Neuroqueer Heresies: Notes on the Neurodiversity Paradigm, Autistic Empowerment, and Postnormal Possibilities' - Nick Walker

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'Neuroqueer Heresies: Notes on the Neurodiversity Paradigm, Autistic Empowerment, and Postnormal Possibilities' - Nick Walker

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NEUROQUEER • THE WRITINGS OF DR. NICK WALKER

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Order from Your Local Bookshop, Autonomous Press, or Amazon Audiobook now available from Libro.fm, Audiobooks.com, and Audible Neuroqueer Heresies: Notes on the Neurodiversity Paradigm, Autistic Empowerment, and Postnormal Possibilities Neuroqueer Heresies collects my shorter writings on neurodiversity, autism, and Neuroqueer Theory, including 120 pages of brand-new material that’s never before been available online or in

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Ted Rogers - artist exploring the extremities of movement through the neurodivergent and non binary lense; plowing their unwavering and infectious energy into any and all mediums, with a particular focus on entertainment and the deeper emotional aspects of humanity.

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Ted Rogers - artist exploring the extremities of movement through the neurodivergent and non binary lense; plowing their unwavering and infectious energy into any and all mediums, with a particular focus on entertainment and the deeper emotional aspects of humanity.

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Ted explores the extremities of movement through the neurodivergent and non binary lense; plowing their unwavering and infectious energy into any and all mediums, with a particular focus on entertainment and the deeper emotional aspects of humanity. They trained professionally in Musical Theatre before moving to London and finding nightlife, queer culture, gogo-dancing, drag, fashion, music and contemporary dance.

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Neuroqueer: An introduction - Nick Walker

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Neuroqueer: An introduction - Nick Walker

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A Testament to Glitter - Scarlet Aylmer 

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A Testament to Glitter - Scarlet Aylmer 

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I wrote an essay on glitter as a cultural phenomenon and historic influence that recently got published in the journal 'decorating dissidence', linked here if you would like to give it a read.

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Glitter is not only a dazzling adornment, but also a symbol of queerness, a natural occurrence and a cultural phenomenon. We can learn from its mesmeric, fluctuating qualities and disseminating form. Scarlet Aylmer shares what draws her to glitter...

Glitter from a Queer Perspective

Contemporary queer culture has been heavily associated with glitter. The unabashed usage of glitter in media portrayals of queer communities often presents queer culture as kitsch or garish. Shows such as RuPaul's drag race capitalise upon its inherently dazzling and enticing qualities. This kind of of performative expressionism is disparaged due to its "crass" or "tacky" qualities, which can be criticised on a homophobic basis, as the use of glitter should not be classed as wholly superficial. The conspicuous nature of glitter can be linked to a defiance against oppression, showing 'pleasure and power of creativity in queer fashion' (Moore, 2018: p8). In light of the AIDs crisis and everyday homophobic assaults on the queer community, the willingness to exist bright and sparkling is a defiant one. The desire to sparkle is an innate form of expression, not limited to queer people but used as an expression of life that should be fought for.

The attraction to sparkling dress is not an exclusively queer, western phenomenon, and can be understood through a wider cultural perspective. Victoria Rivers describes in her book The Shining Cloth: Dress & Adornment that Glitters, that 'the embellishment with glittering substance is a worldwide and ancient practise' (Rivers, 2003: p6). Reflective substances are synonymous with the sun's protective, magical qualities, commonly used in dress of worship - 'banishing evil blackness to the purity of day' (Rivers, 2003: p6). This light worship has relied on a sense of scarcity. Precious shining materials were only available to the few, traded to create wealth and interactions between cultures, the basis of societies (Rivers, 2003). Worship in western civilizations has translated this to a sense of "royalty" through the use of refined glitters, expensive metals and stones. The self is immortalized in these precious objects, as they are passed down through generations. The irony of queer slang such as "queen" "royalty", and attraction to opulent dress presents a kind of self-royalty, a "releasing" from antiquated forms of worship and hierarchy, and a metaphorical protection against dark outer forces of society.

It can be said that glitter is used in drag and queer fashion not only for its bright qualities but its fluctuating, boundary-less form. Turner Prize Nominee Sin Wai Kin uses drag and glitter to question social boundaries and societal dogmas. The act of viewing glitter pauses us in a moment of mesmerisation, transported from the self. Kin makes use of this to undo binaries not only between man and woman, but life, death, self and other, dreaming and waking (Tate, 2022). We are dazzled, met with the intangible, non-binaries of the self. Queer theory extends past itself in the sense that it 'goes everywhere' just like glitter. Queerness can be seen as something earthly and magical, as something special yet hidden. Take Derek Jarman's Ariel character from Shakespeare's 'The Tempest'- his glittery body is only "seen" by those he wishes to, repressed and hidden yet holding magical powers. Queerness opens to us a fourth space, 'a dimension in which we can express freely' (Moore, 2018) - and glitter is the visual portal through which this exists.

Natural Glitter

We see glitter all the time in the natural world - the stars in the night sky, the sun rippling off of the ocean and we are paused, in an almost spiritual occurrence. Humans' attraction to glitter links to the feeling of connectedness to the 'sublime', something that, as humans, we can do nothing but attempt to recreate. Glitter encapsulates Elaine Scarry's definition of beauty in her 2001 book as the perpetual duplicating of a moment, encouraging a replication of a sensation carried out across time (Scarry, 2001), with an enigma of reflections (replications). It is a symbol for something intangible and unfathomably beautiful, fleeting yet serendipitous. Peter Doig creates an unbounding sense of glitter in his piece 'Blotter' (1993). The impressionistic speckles, like sparkles, draw you in, swirling you around the sheer expanse of the painting with the perspective placing you so you are almost touched by the ripples of the reflective figure. The original name for this piece 'Blotter' was to describe the moment of absorption into a landscape as well as the painting process used. The viewer, like the paint, dissipates, soaked up into their surroundings. It is interesting to note that 'Blotter' can refer to paper carriers of drugs like LSD, which is associated with the feeling of 'god' or sublime connectedness. The meditative act of viewing glitter becomes poignant in this natural, timeless state through our loss of ego and gained connectedness.

This human desire to recreate moments of glitter is ancient and spiritual. Light reflecting off water is one of the oldest forms of experiencing glitter. Victoria Rivers states in her 2003 book that we were attracted to shining pools of water in the desert, the only place in which we saw our reflections 'manifestations of our souls' (Rivers, 2003:p6). Bill Viola believes that his art is "living" in the sense that his video works manipulate the flow of electrons around a screen like 'electronic water', capturing a sense of abundance through the interactions of water and light (Louisiana Chanel, 2019). Not to mention the elemental factors of this glitter being light and water - the essential breeders of life. In the winter months, when the light shines less often, we create our own mesmeric moments of light through our worship of the sun. Religious winter holidays like Diwali, Hanukkah, Chinese New Year, Eid, and Christmas, all have an emphasis on the worship of light, specifically this twinkling and repetitive glitter-like light that we use to decorate these holidays with. Glitter is small repetitions of the sun that we can possess, the reflection of the sun that we can see. We formulate ways that we may not only adorn ourselves with glitter to project our own inner light, but to surround ourselves with sparkles.

Bibliography
Art Basel (2021) Meet the Artists | Sin Wai Kin [Online] [Accessed 20 November 2022]
Doig, P. (1993) Blotter. Oil on Canvas, 136 x 29cm, John Moores Gallery, Liverpool.
Dorwart, L. (2022) Inside the Fascinating History of Glitter and Gay Culture. [Online] [Acessed on 05 January 2023]
FunFilums (2015) The Tempest Youtube [Online] [Accessed 20 December 2021] https://www.youtube.com/watch?v=4qheHYn3rLY&nbsp;
Louisiana Channel (2019) Bill Viola Interview: Cameras are Keepers of the Souls. [Online] [Accessed 11 December 2022]
Moore, M. (2018) Fabulous : The Rise of the Beautiful Eccentric New Haven: Yale University Press.
National Museums Liverpool. Blotter [Online] [Accessed 20 December 2022] https://www.liverpoolmuseums.org.uk/artifact/blotter&nbsp;
Rivers, V. (2003) The shining cloth : dress & adornment that glitters. London: Thames and Hudson.
Scarry, E. (2001) On beauty and being just. Princeton, N.J.: Princeton University Press.
Tate (2022) Sin Wai Kin [Online] [Accessed 06 January 2023] https://www.tate.org.uk/whats-on/tate-liverpool/turner-prize-2022/sin-wai-kin
The Tempest (1979) Jarman, D. [Film] Warwickshire: Boyd's Company.
Tate (2022) Sin Wai Kin - 'I want people to exist in my world' | Turner Prize Nominee 2022 | Tate [Online] [Accessed 14 December 2022] https://www.youtube.com/watch?v=g_vvZHK3ykE&nbsp;
The Reflecting Pool (1977-79) Viola, B.[Film]produced in association with V Lab at WNET/Thirteen, New York and the Artists' Television Workshop at WXXI-TV, Rochester.
Wai Kin, S. (2022) A Dream of wholeness in parts / Its Always You. Video / Installation, In: Turner Prize 2022, Tate Liverpool. 20 October 2022 - 19 March 2023
Wymer, R. (2005) Derek Jarman. Manchester: Manchester University Press (British film makers).

Bio: Scarlet Aylmer is currently studying a BA in Fine Art at Manchester School of Art, yet she was born and raised in Bristol. She is multimedia artist, her practice spanning painting, film, installation, poetry and (her most favoured) craft. Growing up around the exuberant maximalism of hodgepodge festival decor and her mother's prodigious craft drawer, her work takes on a kitsch, camp, often surrealist attitude. Despite a certain joy in juxtaposition and uncanny outcomes, Scarlet produces an underscore of delicacy and intimacy with tactile forms and materiality. Pieces roam between the grotesque, domestic and sublime, to leave space for conflict and nuance in ourselves and our desires. Scarlet became fascinated (obsessed) with glitter and its cultural influence late last year, as we moved on from the summer into darker winter months, which is when she wrote an extended version of this essay. Recent work inquires in to slugs, their slimy trails an alarming sign of vermin, or tell-tale trails leftover by fairies.

Header image: Photo by Jack Van Hel

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Scarlet Aylmer shares what draws her to all things shiny in this blog on glitter as a cultural and natural phenomenon. Glitter is not only a dazzling adornment, but also a symbol of queerness, a natural occurrence and a cultural phenomenon. We can learn from its mesmeric, fluctuating qualities and disseminating form.

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Ro Robertson, artist. 'Unity between the material of the natural landscape and the body reclaims a space for LGBTQ+ identity against a history of being deemed ‘against nature’.

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Ro Robertson, artist. 'Unity between the material of the natural landscape and the body reclaims a space for LGBTQ+ identity against a history of being deemed ‘against nature’.

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Rosanne Robertson is an artist based in Hebden Bridge and Salford / Manchester from Dyke|Queer art space The Penthouse which she co founded. Working with performance, sculpture, assemblage and sound she explores tensions, anxieties, identity and relationships between body, object and environment.…

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Crafted with Pride: Queer Craft & Activism in Contemporary Britain by Daniel Fountain

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Crafted with Pride: Queer Craft & Activism in Contemporary Britain by Daniel Fountain

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Crafted With Pride | Whitworth Art Gallery

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Join us at the Whitworth for an in conversation for the launch of Daniel Fountain’s new book Crafted with Pride: Queer Craft and Activism in Contemporary Britain.

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Paul Harfleet - Artist & creator of 'The Pansy Project'. Content warning: language and content of hate crimes

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Paul Harfleet - Artist & creator of 'The Pansy Project'. Content warning: language and content of hate crimes

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https://thepansyproject.com/

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The film above was made by MZM Projects at the Nuart Festival in Stavanger, Norway in 2019: Director Statement: "One way or another, even the documentary nature of this project didn't stop us from paying sentimental tribute to our favourite gay artists: Derek Jarman, Robert Mapplethorpe, Luca Guadagnino and surely Paul Harfleet. With this piece, we want to believe that the day "when homophobia ended" becomes one step closer." - Kristina Borhes.

Paul Harfleet plants pansies at the site of homophobic abuse; he finds the nearest source of soil to where the incident occurred and generally without civic permission plants one unmarked pansy. The flower is then documented in its location, the image is entitled after the abuse. Titles like "Let's kill the Bati-man!" and "Fucking Faggot!" reveal a frequent reality of LGBTQ+ experience, which often goes unreported to authorities. This simple action operates as a gesture of quiet resistance; some pansies flourish, others wilt in urban hedgerows.

Planting pansies in Brussels in 2014, photo Wen-Chi Su

The artist began by planting pansies to mark his own experience of homophobia on the streets of Manchester UK, he now plants pansies for others both on an individual basis and as part of various festivals and events. Increasingly his developing practice involves film making, at each location he visits, the artist makes a short film revealing the historical, cultural and personal histories of the plantings, these films have been shown at various institutions and festivals including the Everybody's Perfect Festival in Geneva, The Spencer Museum of Art, Kansas and most recently in Ottawa at the National Gallery of Canada. If Homophobia Ended Tomorrow, below was shown as part of the on-line iteration of the the Nuart Aberdeen Festival during the #Lockdown.
HOW IT BEGAN - BY PAUL HARFLEET
A string of homophobic abuse on a warm summer's day was the catalyst for this project. The day began with two builders shouting; "it's about time we went gay-bashing again isn't it?"; continued with a gang of yobs throwing abuse and stones at my then boyfriend and me, and ended with a bizarre and unsettling confrontation with a man who called us 'ladies' under his breath.

Over the years I have become accustomed to this kind of behaviour, but I came to realise it was a shocking concept to most of my friends and colleagues. It was in this context that I began to ponder the nature of these verbal attacks and their influence on my life. I realised that I felt differently about these experiences depending on my mental state so I decided to explore the way I was made to feel at the location where these incidents occur.

However, I did not feel it would be appropriate to equate my personal experience of verbal homophobic abuse with a death or fatal accident; I felt that planting a small unmarked living plant at the site would correspond with the nature of the abuse: A plant continues to grow as I do through my experience. Placing a live plant felt like a positive action, it was a comment on the abuse; a potential 'remedy'.

The species of plant was of course vitally important and the pansy instantly seemed perfect. Not only does the word refer to an effeminate or gay man: The name of the flower originates from the French verb; penser (to think), as the bowing head of the flower was seen to visually echo a person in deep thought. The subtlety and elegiac quality of the flower was ideal for my requirements. The action of planting reinforced these qualities, as kneeling in the street and digging in the often neglected hedgerows felt like a sorrowful act.

Paul Harfleet has appeared on TV, Radio and various podcasts talking about his work and has been the subject of documentaries, most notably Les Pensées de Paul made in 2015 in France by Canal+, directed by Jean Baptiste-Erreca and won several international film awards. He has also spoken at many different events from M&S HQ, the British Library and most recently at the Nuart Festival in Stavanger, Norway. If you'd like to book the artist for an appearance contact him here.

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The film above was made by MZM Projects at the Nuart Festival in Stavanger, Norway in 2019: Director Statement: "One way or another, even the documentary nature of this project didn't stop us from paying sentimental tribute to our favourite gay artists: Derek Jarman, Robert Mapplethorpe, Luca Guadagnino and surely Paul Harfleet.

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LGBTQIA+ Archives - Bishopsgate Institute, London

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LGBTQIA+ Archives - Bishopsgate Institute, London

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https://www.bishopsgate.org.uk/collections/lgbtqia-archives

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Bishopsgate Institute's Special Collections and Archives holds one of the most extensive collections on LGBTQIA+ history, politics and culture in the UK. It covers the late nineteenth century onward.

The collections encompass LGBTQIA+ history politics and culture, with archives from Stonewall, Switchboard, GMFA/The Gay Men's Health Charity, Outrage! and material relating to the Terrence Higgins Trust, Achilles Heel and QX magazines. We also hold records of individuals including Paris Lees, Sue Sanders/Schools Out/LGBT History Month and many others

We're proud to be custodians of the Lesbian and Gay Newsmedia Archive (LAGNA). LAGNA includes over 300,000 press cuttings from the straight press regarding LGBTQIA+ history from the 1890s to today. The cuttings are organised by subject matter, biographical content and location.

We hold a library of around 10,000 LGBTQ+ titles, from academic works, biographies, fiction and poetry to pulp fiction, along with over 700 journal titles from around the world. The LGBTQIA+ Pamphlet Collection contains around 1,500 items including programmes for festivals and events, material from campaigning organisations and catalogues. The collection also features extensive ephemera such as club flyers, t-shirts, banners and badges.

The Special Collections and Archives also hosts the UK Leather and Fetish Archives, a national collection documenting the history and heritage of fetish, kink and BDSM in the UK. The archives holds organisational papers, flyers, journals, pamphlets, books and artefacts.

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'what can i do today in liverpool street'

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LGBTQIA+ Archives | Bishopsgate Institute

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Bishopsgate Institute's Special Collections and Archives holds one of the most extensive collections on LGBTQIA+ history, politics and culture in the UK. It covers the late nineteenth century onward. The collections encompass LGBTQIA+ history politics and culture, with archives from Stonewall, Switchboard, GMFA/The Gay Men's Health Charity, Outrage!

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Queer Lit - Independent LGBTQ+ Bookshop & Pride Store, Tib Street, Manchester

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Queer Lit - Independent LGBTQ+ Bookshop & Pride Store, Tib Street, Manchester

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https://www.queerlit.co.uk/

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Manchester’s Award Winning LGBTQ+ Bookshop & Pride Store

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We host the largest selection of LGBTQ+ titles in the UK. Hundreds of pride accessories including badges, flags, clothing, greetings cards, jewellery and party decorations. LGBT Bookshop. LGBT Books. Gay Books.

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https://www.leslielohman.org/

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The Leslie-Lohman Museum of Art provides a platform for artistic exploration through multi-faceted queer perspectives.

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https://www.theproudtrust.org/

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The Proud Trust is an LGBT+ organisation that supports LGBT+ young people through youth groups, peer support, mentoring programs and the Proud Connections chat service.

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https://www.superbia.org.uk/

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Through collaboration with partners, venues, groups, curators, community members, artists and creatives, we deliver a programme of year-round LGBTQ+ events. We aim to keep our events free of charge, diverse, accessible and welcoming.

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Through collaboration with partners, venues, groups, curators, community members, artists and creatives, we deliver a programme of year-round LGBTQ+ events. We aim to keep our events free of charge, diverse, accessible and welcoming.

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https://queerbritain.org.uk/?trk=public_post_main-feed-card-text

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Queer Britain: the national LGBTQ+ museum

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https://www.tomoffinland.org/about-the-foundation/

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ABOUT TOM'S FOUNDATION

In 1984, the nonprofit Tom of Finland Foundation (ToFF) was established by Durk Dehner and his friend Tom. As Tom had established worldwide recognition as the master of homoerotic art, the Foundation's original purpose was to preserve his vast catalog of work. Several years later the scope was widened to offer a safe haven for all erotic art in response to rampant discrimination against art that portrayed sexual behavior or generated a sexual response. Today ToFF continues in its efforts of educating the public as to the cultural merits of erotic art and in promoting healthier, more tolerant attitudes about sexuality. Volunteer Membership

Unlike many artists, Tom of Finland's work has always been appreciated by a grass-roots audience as his work was first seen in commercial settings such as magazine illustration, posters and advertising. From the perspective of art historians, Tom's work had an effect on global culture unmatched by that of virtually any other artist. Tom's work had a defining impact on the way Gay men throughout the world were perceived and more importantly, how they perceived themselves. Tom's work has, therefore, had a ripple effect throughout Gay and Straight culture, influencing lifestyle, political tolerance, design, fashion and art.

One of the primary goals of the Foundation is to promote Tom's work along with other erotic art so that it receives the academic attention it deserves.

From a critical perspective, thanks in part to the sustained commitment of the Foundation, Tom's art is receiving the acknowledgment it merits. The Finnish Museum of Contemporary Art Kiasma was the first to make a progressive move in its 1991 acquisition of three Tom of Finland works. In 1997 Tom's work was acquired by two more major museums: The Los Angeles County Museum of Art and the San Francisco Museum of Modern Art. In 2020, Tom's work can be seen in The Museum of Contemporary Art (MOCA) Los Angeles, Museum of Modern Art (MoMA) New York, and The Art Institute of Chicago. Actively promoted by the Foundation, Tom's work is increasingly being shown in galleries worldwide. A well-received exhibition at David Kordansky Gallery in Los Angeles, California in 2015 established this cutting edge gallery as the official representative for sales of Tom's work in the contemporary art world. The Foundation is a nonprofit organization, a 501(c)(3) Educational Archive: #95-406-5795, supported by donations from the public, various fund-raising events and dues from its loyal membership. The men and women who support our efforts and goals dedicate themselves both financially and as volunteers enabling the Foundation to present an impressive number of activities on a limited budget. Tom of Finland Company exists as a separate entity from the Foundation. The Company was first established by Tom and Durk to oversee the publication of his work and to eliminate widespread piracy of his images. In order to further the goal of supporting both Tom's art and the art of other erotic artists, the Company initiated and funded Tom of Finland Foundation. The Foundation has produced three Tom of Finland Retrospectives. The third volume features the finest representation of his work yet with a foreword by noted photographer Bruce Weber and an essay by former Whitney Museum curator Richard Marshall.

In recent years, the Foundation has rapidly expanded its Permanent Collection through donations of all manner of erotic artworks, by artists of all genders and sexual orientations.

In addition, a growing archive of images by other artists to complement the extensive one of Tom's work is always in progress. These archives provide an invaluable resource to curators, students, art historians and collectors. To support and encourage emerging erotic artists the Foundation produces a competition which provides exhibition of their work, publicity and awards. The promotion and sale of both new and established artists is facilitated through exhibitions at TOM House. The work represented ranges from unknown to established artists and has exceeded expectations in providing a place to expand the commercial value and exposure of erotic art. The Foundation hosts social events throughout the year to raise funds and to provide a sense of community for supporters of erotic art. An example is the annual TOM's Bar which promotes and exhibits erotic art in a very popular party setting and raises funds to support the Foundation's activities at the same time. The annual Tom of Finland Art and Culture Festival brings together artists and patrons from many parts of the globe. It provides them with a social environment in which to network, opportunities to explore the archives and most importantly, the opportunity to buy and sell works at the two-day art fair. Tom of Finland Foundation (ToFF) is dedicated to protect, preserve, document and educate the public about erotic art and erotic artists. ToFF shall continue to encourage the work of erotic visual artists regardless of race, creed, religion, gender, sexual identity, medium of expression or any other censoring criteria.

In a tradition that goes back 1,000 years, "pillow books" were given to couples at marriage to teach them how to pleasure each other. Silk pillow painting, early Twentieth Century, 11″ x 11 1/2″, donated to the permanent collection by Cathie Bagwell.

An example of the new work the Foundation supports and exhibits through its Emerging Erotic Artist Competitions. Aaron Holliday, Gay Hunter, 1997, 19″ x 24″, graphite on paper, on loan to the Foundation.

The Foundation archives include all types of art including this 1950s era physique photograph. Al Urban, 1952, 8″ x 10″ photograph, donated to the permanent collection by the Doan Family Foundation.

Hard to believe that our beloved Tom was born over 100 years ago. His legacy of unique, sexy, homo erotic art work lives on and continues to inspire countless art lovers throughout the world, due in part to the ongoing work of TOM's Foundation. Our Foundation has been reviewing the public programs we offer and income received from the public in the form of donations and memberships to support these programs. The Foundation is a nonprofit 501(c)(3) public charity and is required to be both serving the public and supported by the public. The original mission of the Foundation since its inception in 1984 has been to preserve TOM's vast catalog of work. That mission was expanded and the Foundation now offers a safe haven for all erotic art. Today, the Foundation offers public programming. Approximately 80% of the Foundation's budget goes to providing public services. The financial support that the Foundation receives from the public is considerably less then these programming expenses. Although the Foundation licenses Tom's images and name to various enterprises, including book publishers, income from sales provides just a small portion of the total funds needed to support TOM's Foundation. In addition, licensed products help promote Tom's art work and keep his legacy alive in society. We can not do this work without continued support from individuals and members like you.

Tom of Finland Foundation (ToFF), a Not for Profit Public Benefit Corporation, is dedicated to protecting, preserving, documenting, and educating the public about erotic art and artists. ToFF is committed to encouraging the work of artists, regardless of medium of expression, race, color, national origin, religion, sex, sexual orientation, gender identity, marital status, physical or mental disability, medical condition, age, or any other censoring criteria. No one is excluded from participation in, denied the benefits of, or subjected to discrimination under any program, activity, or employment, which ToFF manages or oversees.

A Note from the President

Continued support from individuals such as you is crucial to the Foundation's survival and continued growth. Visible community support will greatly aid our volunteers in attracting corporate contributions and successfully applying for grants. Every dollar contributed and new membership will ensure the future protection of your right to view whatever art you choose. Donations of all sizes are always welcome, including networking with your friends and business contacts to encourage further support. Donations can be earmarked for specific purposes, such as our Marcello Lupetti Artist Fund.

The Foundation's greatest sustenance, however, comes from our loyal members and volunteers.

Only by having a committed and active membership can we feel secure that our promise to uphold the goals of the Foundation will be sustained for posterity. Multiple levels of membership are available so that everyone may participate. Aside from providing support, members create a sense of community and camaraderie with others who share their interests. As a member you will receive the Foundation's eNews newsletter which will keep you informed of all Foundation activities and events with articles on a wide range of erotic artists, updates on new acquisitions to our permanent collection and our ever increasing library of international erotic artists past and present. Members also receive discounts on event admissions and Tom of Finland merchandise. Finally, with our growing roster of activities, volunteers are more important than ever. In the future we hope to expand our activities to new areas throughout the world. All volunteers are welcome and will find whatever work they may be asked to do stimulating and a great way to socialize and network. We especially need volunteers with specialized skills in marketing, fund-raising, design, gallery installation, art history/archiving and museum studies. As a founder of Tom of Finland Foundation, I want to give you my personal assurance that our dedication to the cause of preserving erotic art and educating the general public as to its importance is both intense and unending. I look forward to working together with you and the many others who will help strengthen and expand the vision Tom and I had, into the future.

- Durk Dehner

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About Foundation - Tom of Finland Foundation

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ABOUT TOM’S FOUNDATION Who we are In 1984, the nonprofit Tom of Finland Foundation (ToFF) was established by Durk Dehner and his friend Tom. As Tom had established worldwide recognition as the master of homoerotic art, the Foundation’s original purpose was to preserve his vast catalog of work. Sever…

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https://spacestationsixtyfive.com/

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ADDRESS SPACE STATION SIXTY-FIVE, Building One, 373 Kennington Road, London, SE11 4PT

tube: Oval || rail: Vauxhall || bus: 3, 36, 59, 133, 155, 185, 196, 333, 360, 415, 436

Disabled access and local parking. Free Admission

OPENING HOURS During exhibitions we are open Wednesday-Saturday 12-18.00 and weekdays by appointment.

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ADDRESS SPACE STATION SIXTY-FIVE, Building One, 373 Kennington Road, London, SE11 4PT tube: Oval || rail: Vauxhall || bus: 3, 36, 59, 133, 155, 185, 196, 333, 360, 415, 436 Disabled access and local parking. Free Admission OPENING HOURS During exhibitions we are open Wednesday-Saturday 12-18.00 and weekdays by appointment.

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https://www.museumoftransology.com/

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VISIT THE COLLECTION

The Museum of Transology's collection of over 1000 artefacts is currently housed at the Bishopsgate Institute's Special Collections and Archives. You can visit the archive for free (without showing I.D.) and request to see any artefact in the collection. The team will collect it for you, and you are welcome to both study and photograph any object. The collection is continuously drawn upon for exhibitions right across the UK, to be shown both in community spaces and museums. For more information on where pieces are currently being shown, visit our Instagram @museumoftransology

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The Museum of Transology's collection of over 1000 artefacts is currently housed at the Bishopsgate Institute's Special Collections and Archives. You can visit the archive for free (without showing I.D.) and request to see any artefact in the collection. The team will collect it for you, and you are welcome to both study and photograph any object.

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Artist Talk @ MMU (To be uploaded to Bunker Talks) Graham Martin

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Artist Talk @ MMU (To be uploaded to Bunker Talks) Graham Martin

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https://graham-martin.co.uk/portals

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NOBODY PASSES:
Rejecting the Rules of Gender and Conformity

Nobody Passes is a collection of essays that confronts and challenges the very notion of belonging. By examining the perilous intersections of identity, categorization and community, contributors challenge societal mores and countercultural norms. From activism to academia, immigration to appropriation to cruising for sex, hip-hop to disability culture to trans communities, this anthology challenges standards of authenticity and destroys notions of acceptability.

"Unlike most anthologies, which are haunted by spotty quality, Nobody Passes is blessed with one engaging essay after another... Nobody Passes could be titled Everybody Passes, as nearly every contributor describes passing as something they are not -- persons of color passing as white, queers passing his straight, disabled passing as able-bodied, casual religious passing as devout, straights passing as queer. Don't pass up these compelling biographical explorations."
- Bitch

"Smart, sassy, and long overdue, this collection of essays by Mattilda and hur badass posse of evil geniuses gleefully demolishes the smug propriety that lurks within most contemporary debates about gender and diversity. What a breath of fresh air!"
- Susan Stryker, transgender activist, historian, and filmmaker

"Providing tons of those increasingly rare moments when you realize you are actually ingesting fresh ideas, Mattilda's collection of essays... deals with notions of passing -- as American, able-bodied, gay, straight, man, woman, neither and other identities -- and it's a must-read for anyone interested in the ever-growing permutations of 'queer.'"
- Time Out New York

"The Nobody Passes anthology boasts a diverse crew of contributors... Many of the essays resemble candid conversations as authors discuss complicated negotiations of identity and community, making the book more enlightening than many others of its ilk. Frustration with competing identities is a recurring theme; as one contributor puts it, 'The problem with being everything is that it mostly gets me a whole lot of nothing.' The volume offers no easy solutions (there undoubtedly aren't any), but it does put these long-overdue conversations within the mainstream's reach."
- Utne Reader

"An excellent new anthology, Nobody Passes brings the contradictions of our complex identities to the fore in 27 essays that explore class, race, gender, sexuality, ethnicity and national origin... Nobody Passes pokes at the core of personal identity, reminding us that personal authenticity is integral to human liberation. It further attempts to envision a world -- however utopian -- in which there is no need for passing."
- The Indypendent

" Nobody Passes is a fascinating example of how feminism and gender studies can support radically new identities that develop at the speed of life -- or it may be part of the end of identity politics as known so far."
-Naomi Zack, author of Inclusive Feminism: A Third Wave Theory of Women's Commonality

"In this beautiful, surprising collection, Mattilda brings together the smartly told, diverse stories of social refuseniks. The result is a provocative critique of the act of passing, and a lively, challenging, often moving account of the pleasures and pains of not passing. Nobody Passes kicks ass. It will mess you right up."
-Joshua Gamson, author of The Fabulous Sylvester

" Nobody Passes... dares to ask: Can we fight for the rights of those whose lives and experiences don't fit our exoticizing paradigms, whose professions are not morally redeeming?... Nobody Passes is a set of complex analyses and an essential book for anyone seeking new frameworks for progressive politics. The writers eschew tired and familiar concepts of identity and belonging. These essays provide an important corrective to the pallid and politically correct narratives that pass, as it were, for social justice."
-Windy City Times

"These essays, in all of their militant heterogeneity--with all of their ease and rage at being on margins--chart some of the most important ground on which the desire for a new society is finding expression. They show rebels that we are far from alone in feeling such desire."
-David Roediger, author of Working Toward Whiteness: How America's Immigrants Became White

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NOBODY PASSES — MATTILDA BERNSTEIN SYCAMORE

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Nobody Passes is a collection of essays that confronts and challenges the very notion of belonging. By examining the perilous intersections of identity, categorization and community, contributors challenge societal mores and countercultural norms. From activism to academia, immigration to appropriat…

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'Your Nostalgia is Killing Me': Activism, Affect and the Archives of HIV/AIDS.

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'Your Nostalgia is Killing Me': Activism, Affect and the Archives of HIV/AIDS.

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Abstract

Nostalgia has long been dismissed and derided by scholars and popular commentators as a pointless and self-indulgent wallowing in the past that stands in the way of social change in the present and for the future. In this archival ethnography, I examine the critical potential of nostalgia as recorded and produced by archives documenting 1980s and 1990s HIV/AIDS activism in the United States. I argue that critical nostalgia, an ethical mode of critique grounded in the bittersweet longing for a past time or space, is a productive lens at every moment of collaboration between HIV/AIDS archives and the AIDS activist communities they document and serve. I present case studies using materials culled from the New York Public Library's Manuscripts and Archives Division, New York University's Fales Library and Special Collections, and Visual AIDS, a community-based arts organization committed to raising AIDS awareness through visual art, assisting artists living with HIV/AIDS, and preserving artists' legacies. Using these case studies, I show that critical nostalgia shapes the ways in which we record and remember in, with, and through archives. With attention to the intersections of gender, sexuality, race, class, and ability, my inquiry focuses on the historical development of these collections, the connections of activists to their materials, and archivists' relationships to the communities implicated in their records. I also analyze contemporary activists' and artists' creative use and reuse of these archival records to produce knowledge, provoke dialogue, preserve legacies, and support ongoing movements to end HIV/AIDS. These archives, which often center gay, white, middle class men, translate the past in and for the present, shaping collective memories and dominant historical narratives. Such memory practices and narratives in turn shape future possibilities. An analysis of the data collected through ethnographic fieldwork resulted in the rich description of these phenomena that is fundamental to the project of building theory around the concept of nostalgia. The nostalgias produced and reproduced by these archives and their materials infuse and constrain present HIV/AIDS activism, cultural productions, and the lives and life chances of those living with HIV and AIDS. This dissertation demonstrates that archives and critical nostalgia in combination are an essential means to reflect on the past in the contextualized manner necessary to for fostering communal identity and direct action in the present and future. Ultimately, a responsible and ethical scholarship and activist archiving practice must harness critical nostalgia to actively engage and to serve the archives constituencies with an eye to the present and future.

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'Your Nostalgia is Killing Me': Activism, Affect and the Archives of HIV/AIDS

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Author(s): Cifor, Marika Louise | Advisor(s): Caswell, Michelle | Abstract: Nostalgia has long been dismissed and derided by scholars and popular commentators as a pointless and self-indulgent wallowing in the past that stands in the way of social change in the present and for the future.

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"Queer Phenomenology: Orientations, Objects, Others." by Sarah Ahmed

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"Queer Phenomenology: Orientations, Objects, Others." by Sarah Ahmed

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" Queer Phenomenology makes a valuable contribution to queer theory, philosophy, cultural theory, psychology and geography/spatial studies alike, raising questions and providing a possible theoretical framework both for and
across these fields of inquiry."
- Jessica Lehman Heather McDermid Karen Moxley and Carolyn J. Rowe, Gender, Place & Culture

"In the context of recent literary and critical theories that have often favored impatience over patience, a hermeneutics of suspicion over a sense of wonder, extremity over everydayness, one of Ahmed's singular achievements is to reorient our affective stances and intellectual idioms toward a less punitive engagement with the ordinary." - Rita Felski, Contemporary Women's Writing

"While the text is rich and dense in its theoretical discussion, Ahmed's language is surprisingly accessible and cautiously intimate. Drawing on the works of a wide range of thinkers, Ahmed establishes multiple connections and points of conversation between the theories and does so with an astute clarity. Students of both phenomenology and queer studies, or anyone in search of a new theoretical framework for non-normative bodies and subjects, are guaranteed to benefit from reading this truly novel work." - Dai Kojima, Phenomenology and Practice

"Writing out of the intersections of several academic fields, Ahmed's book should speak to several audiences. . . . To read [the book] is to be challenged out of our habitual ruts of reading, writing, and thinking as trained philosophers." - Shannon Winnubst, APA Newsletter

"[G]round shaking. The book is disorienting in a good way. It invites the reader to be shaken, disoriented, to question our selves and our position and it evokes the power and necessity of disorientation as a source of movement and challenge. Ahmed doesn't seem to insist that we deny the positions we currently occupy, or to move on, but to reorient ourselves. Like earthly tremors, queer phenomenology facilitates the formation of lines and fissures along the spaces of our existence, as events that open up new connections, rather than points in lines that bind us to existing structures and spaces in which living obliquely is made uncomfortable, if not impossible." - Margaret Mayhew, Cultural Studies Review

"Ahmed's most valuable contribution in Queer Phenomenology is her reorienting of the language of queer theory. The phenomenological understanding of orientation and its attendant geometric metaphors usefully reframes queer discourse, showing disorientation as a moment not of desperation but of radical possibility, of getting it twisted in a productive and revolutionary way." - Zachary Lamm, GLQ

"In her book, Queer Phenomenology: Orientations, Objects, Others, Sara Ahmed offers a thorough and at times playful analysis of what it means to be oriented-oriented toward objects, ideas, cultures, and sexes. . . . This book is . . . inspiring, stimulating, and a pleasure to read." - Elizabeth Simon Ruchti, College Literature

"Rarely does philosophical writing successfully manage to make its reader embrace the abstraction that comes along with such writing and bridge this abstraction with everyday, lived experience. Sara Ahmed's Queer Phenomenology astoundingly does both. . . . Queer Phenomenology impressively emerges as a text that is reachable to its readers." - Yetta Howard, Women's Studies

"The aim of Sara Ahmed's dense, stimulating and thought-provoking book is to connect sexual orientation with phenomenology in a way that takes the spatiality of sexuality, gender and race seriously, opening up new questions for the cross-disciplinary audience that should read this book. . . . In the acknowledgment, Sara Ahmed notes that her book was a pleasure to write. It is also a pleasure to read. The author's immense erudition is worn lightly and the book, although dealing with complex ideas is a joy to read as it guides the reader through the argument with great clarity. It will appeal to a wide range of readers-and deservedly so." - Linda McDowell, Sexualities

"Finally, a theorist who takes sexual 'orientation' at its word. In this moving meditation on directionality, Sara Ahmed takes phenomenology for a turn through queer theory, postcolonial studies, feminism, critical race theory, geometry, and labor politics. In the world Ahmed encourages us to reinhabit, as bodies come to matter, bodily action materializes space, children inherit proximities rather than attributes, privileged bodies sink into familiarity, and politics is at its best when it involves a measure of disorientation. Follow her 'lines' of reasoning and you'll never again reach for an explanation, a book, or a lover without wondering how your grasp extended so far in the first place." - Kath Weston, author of Gender in Real Time: Power and Transience in a Visual Age

"In this dazzling new book, Sara Ahmed has begun a much needed dialogue between queer studies and phenomenology. Focusing on the directionality, spatiality, and inclination of desires in time and space, Ahmed explains the straightness of heterosexuality and the digressions made by those queer desires that incline away from the norm, and, in her chapter on racialization, she puts the orient back into orientation. Ahmed's book has no telos, no moral purpose for queer life, but what it brings to the table instead is an original and inspiring meditation on the necessarily disorienting, disconcerting, and disjointed experience of queerness." - Judith Halberstam, author of In a Queer Time and Place: Transgender Bodies, Subcultural Lives

"This is an original and refreshing use of phenomenological theory to address the kinds of questions-about orientations and about how bodies and objects become oriented through their interrelations-that help link it more directly to political and social questions-about gender, sexuality, and race, for example-that have tended to be treated as outside or beyond phenomenological frameworks. This extension and development of phenomenology is a major contribution." - Elizabeth Grosz, author of The Nick of Time: Politics, Evolution, and the Untimely

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" Queer Phenomenology makes a valuable contribution to queer theory, philosophy, cultural theory, psychology and geography/spatial studies alike, raising questions and providing a possible theoretical framework both for andacross these fields of inquiry." - Jessica Lehman Heather McDermid Karen Moxley and Carolyn J.

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Cosmopolitan Knowledge and the Production and Consumption of Sexualized Space: Manchester's Gay Village

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Cosmopolitan Knowledge and the Production and Consumption of Sexualized Space: Manchester's Gay Village

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“Time binds: queer temporalities, queer histories” by Elizabeth Freeman 

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“Time binds: queer temporalities, queer histories” by Elizabeth Freeman 

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“Impossible dance: club culture and queer world-making” by Fiona Buckland

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“Impossible dance: club culture and queer world-making” by Fiona Buckland

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This is an original account of the complex and often heavily theorized debates around the body, identity and community.

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The Demise of Queer Space?Resurgent Gentrification and the Assimilation of LGBT Neighborhoods

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The Demise of Queer Space?Resurgent Gentrification and the Assimilation of LGBT Neighborhoods

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The mass shooting at a queer Latin Night in Orlando in July 2016 sparked a public conversation about access to pleasure and selfhood within conditions of colonization, violence, and negation. Queer Nightlife joins this conversation by centering queer and trans people of color who apprehend the risky...

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Queer as Folk: Producing the Real of Urban Space

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Queer as Folk: Producing the Real of Urban Space

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https://www.youtube.com/watch?v=oQ5qGoOJAlQ&t=3s

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https://whatson.bfi.org.uk/flare/Online/default.asp

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BFI Flare: London LGBTQIA+ Film Festival 2022

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London LGBTQIA+ Film Festival

16 to 27 March 2022

Our springtime celebration of queer cinema is back, at BFI Southbank and on BFI Player.

Find out more about the festival, how to book and access at the festival.

Festival news

Full programme announced for 36th BFI Flare: London LGBTQIA+ Film Festival

Opening and closing night films announced for BFI Flare: London LGBTQIA+ Film Festival 2022

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BFI Flare: London LGBTQIA+ Film Festival 2022

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16 to 27 March 2022 Our springtime celebration of queer cinema is back, at BFI Southbank and on BFI Player. Find out more about the festival, how to book and access at the festival.

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https://www.goodreads.com/book/show/56827391-c-nto-and-othered-poems

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Read 65 reviews from the world's largest community for readers. Winner of the T.S. Eliot Prize 2021. The female body is a political space. C+nto enters th...

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This book is an absolute must read! A critical and much needed look at the reality of domestic abuse in lesbian and queer relationships

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In the Dream House by Carmen Maria Machado

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In the Dream House by Carmen Maria Machado

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'Transgender Warriors' by Leslie Feinberg

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'Transgender Warriors' by Leslie Feinberg

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Transgender Warrior - The art & activism & words of Leslie Feinberg

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'Queer Objects' Edited by Chris Brickell and Judith Collard

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'Queer Objects' Edited by Chris Brickell and Judith Collard

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https://manchesteruniversitypress.co.uk/9781526135766/

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Queer lives give rise to a vast array of objects: the things we fill our houses with, the gifts we share with our friends, the commodities we consume at work and at play, the clothes and accessories we wear, and the analogue and digital technologies we use to communicate with one another. But what makes an object queer? The sixty-three chapters in Queer Objects consider this question in relation to lesbian, gay and transgender communities across time, cultures and space. In this unique international collaboration, well-known and newer writers traverse world history to write about items ranging from ancient Egyptian tomb paintings and Roman artefacts to political placards, snapshots, sex toys and the smartphone. Fabulous, captivating, transgressive.

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Manchester University Press - Queer Objects

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Queer lives give rise to a vast array of objects: the things we fill our houses with, the gifts we share with our friends, the commodities we consume at work and at play, the clothes and accessories we wear, and the analogue and digital technologies we use to communicate with one another.

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'Pink Labor on Golden Streets: Queer Art Practices' CHRISTIANE ERHARTER, HANS SCHEIRL, DIETMAR SCHWÄRZLER, RUBY SIRCAR (EDS.)

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'Pink Labor on Golden Streets: Queer Art Practices' CHRISTIANE ERHARTER, HANS SCHEIRL, DIETMAR SCHWÄRZLER, RUBY SIRCAR (EDS.)

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https://www.sternberg-press.com/product/pink-labor-on-golden-streets-queer-art-practices/

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Assorted Early Publications from Outside of Texas. Queer magazine archive. 

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Assorted Early Publications from Outside of Texas. Queer magazine archive. 

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Assorted Early Publications from Outside of Texas

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An astonishingly frank and deeply autobiographical account of homosexual relationships in an era when love between men was not only stigmatised, but also illegal, E.M. Forster's Maurice is edited by P.N. Furbank with an introduction by David Leavitt in Penguin Classics.Maurice Hall is a young man who grows up confident

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Youngman - The Diaries of Lou Sullivan Book

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RELEASE DATE - 4 NOVEMBER 2021 A unique first-hand account of a historical gay trans man's whole life, which reads like a celebratory coming-of-age novel.Lou kept candid diaries from the age of 10.

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'Countersexual Manifesto' Paul B. Preciado. Translated by Kevin Gerry Dunn. Foreword by Jack Halberstam.

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'Countersexual Manifesto' Paul B. Preciado. Translated by Kevin Gerry Dunn. Foreword by Jack Halberstam.

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https://cup.columbia.edu/book/countersexual-manifesto/9780231175630

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ISBN: 9780231175630

240 Pages

Format: Paperback

List Price: $26.00 £20.00

ISBN: 9780231175623

240 Pages

Format: Hardcover

List Price: $85.00 £66.00

ISBN: 9780231548687

240 Pages

Format: E-book

List Price: $25.99 £20.00

Countersexual Manifesto is an outrageous yet rigorous work of trans theory, a performative literary text, and an insistent call to action. Seeking to overthrow all constraints on what can be done with and to the body, Paul B. Preciado offers a provocative challenge to even the most radical claims about gender, sexuality, and desire.

Preciado lays out mock constitutional principles for a countersexual revolution that will recognize genitalia as technological objects and offers step-by-step illustrated instructions for dismantling the heterocentric social contract. He calls theorists such as Derrida, Foucault, Butler, and Haraway to task for not going nearly far enough in their attempts to deconstruct the naturalization of normative identities and behaviors. Preciado's claim that the dildo precedes the penis-that artifice, not nature, comes first in the history of sexuality-forms the basis of his demand for new practices of sexual emancipation. He calls for a world of sexual plasticity and fabrication, of bio-printers and "dildonics," and he invokes countersexuality's roots in the history of sex toys, pornography, and drag in order to rupture the supposedly biological foundations of the heterocentric regime. His claims are extreme, but supported through meticulous readings of philosophy and theory, as well as popular culture. The Manifesto is now available in English translation for its twentieth anniversary, with a new introduction by Preciado. Countersexual Manifesto will disrupt feminism and queer theory and scandalize us all with its hyperbolic but deadly serious defiance of everything we've been told about sex.

Paul Preciado's work has been immensely important to me, as well as to countless others. It's so fantastic, then, that we finally have his first book on offer. Like so much that he has offered since, Countersexual Manifesto is freewheeling and learned, rabble-rousing and meticulous, spirited and essential. Whether you want to argue with it, mine it, or become a convert to its call, you should definitively read it, keep it by your side. Maggie Nelson, author of The Argonauts

Countersexual Manifesto is a well-lubricated double dong: phantasmagorical poetry on one end, penetrating theory on the other, and a thorough examination of body politics being the shaft. Each sentence delivers a thrust, deep inside, that elicits a yes, yes, yes! Bend over, insert this book, and enjoy the ride. Annie Sprinkle & Beth Stephens, ecosexual artists and educators

Countersexual Manifesto is a utopian cry to manifest revolutionary change in the face of necropolitical practices and planetary destruction. RL Goldberg, Los Angeles Review of Books

Rather than calling for a revolution, Preciado's Manifesto argues the revolution has already begun. Advocate

Preciado offers a refreshingly radical take on recognizing and renegotiating supposedly biological scripts to support inclusivity, diversity, and equity...the work is rewarding in its refreshing take on the queer history of sexual technologies and gender development. The positionality and layout of the book suggest
that it is truly centered on organizing, bringing to life many of the core tenets of queer theory in accessible and tangible ways. RGWS

Foreword, by Jack Halberstam
Introduction
1. Countersexual Society
2. Countersexual Reversal Practices
3. Theories
4. Countersexual Reading Exercise
Author's Note
Acknowledgments
Notes
Bibliography
Index

About the Author

Paul B. Preciado is a philosopher, curator, and transgender activist. He is curator of public programs for the largest international European art and culture exhibition, documenta 14 (Athens and Kassel). Preciado's books in English include Testo Junkie: Sex, Drugs, and Biopolitics in the Pharmacopornographic Era (2013) and Pornotopia: An Essay on Playboy's Architecture and Biopolitics (2014). He lives between Paris, Barcelona, and Athens.

Kevin Gerry Dunn is a translator of Spanish-language fiction and academic writing on gender, art, and immigration. His recent translations include works by Josefina Fernández, Ramón Arturo Gutiérrez, and Cristian Perfumo.

Jack Halberstam is visiting professor of gender studies and English at Columbia University and is the author of a number of books, including most recently, Trans*: A Quick and Quirky Account of Gender Variability (2018).

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Countersexual Manifesto | Columbia University Press

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ISBN: 9780231175630 240 Pages Format: Paperback List Price: $26.00 £20.00 ISBN: 9780231175623 240 Pages Format: Hardcover List Price: $85.00 £66.00 ISBN: 9780231548687 240 Pages Format: E-book List Price: $25.99 £20.00 Countersexual Manifesto is an outrageous yet rigorous work of trans theory, a performative literary text, and an insistent call to action.

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'Can the monster speak' Paul B. Preciado

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'Can the monster speak' Paul B. Preciado

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https://fitzcarraldoeditions.com/books/can-the-monster-speak

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Esteemed ladies and gentlemen of the École de la Cause Freudienne, and I do not know whether it is worth also extending a greeting to all those who are neither ladies nor gentlemen, because I doubt that there is anyone among you who has publicly and legally repudiated sexual difference and been accepted as a fully fledged psychoanalyst, having successfully completed the process you refer to as 'The Pass', which permits you to practise as an analyst. In this, I am referring to a trans or non-binary psychoanalyst who is accepted by you as an expert. If such a person exists, allow me here and now tooffer this dear mutant my warmest greetings.

I have the honour of appearing before the Academy to offer a report on my life as a trans man. I do not know whether I will be able to offer data that you, ladies and gentlemen, academics and psychoanalysts, that you do not already know at first hand, given that you, like me, live within a regime of sex, gender and sexual difference. As a result, almost everything that I can say, you can observe for yourselves on one side or the other of the gender boundary. Although you doubtless consider yourselves to be natural men and women, and such an assumption may have prevented you from observing, from a safe distance, the political framework of which you are part. You will forgive me if, in the course of the story I am about to tell, I do not take for granted the existence of natural masculinity or femininity. Rest assured, you do not have to abandon your beliefs - and they are beliefs - in order to hear me out. Consider my argument, then go back to your 'naturalized' life, if you can.

To introduce myself, since you are a group of 3,500 psychoanalysts and I feel a little alone on this side of the stage, to take a running jump and hoist myself onto the shoulders of the master of metamorphosis, the greatest analyst of the excesses that hide behind the façade of scientific reason and of the madness commonly referred to as mental health: Franz Kafka.

In 1917, Franz Kafka wrote 'Ein Bericht für eine Akademie' - 'A Report to an Academy'. The narrator of the text is an ape who, having learned human language, is appearing before an academy of the greatest scientific authorities to report to them on what human evolution has meant to him. The ape, who claims to be called Red Peter, explains how he was captured during a hunting expedition organized by the firm of Hagenbeck, transported to Europe aboard a steamship, is trained to perform in music halls, and how he later sprang into the community of human beings. Red Peter explains that in order to master human language and be accepted in the European society of his time, he had to forget his life as an ape. And how, in order to endure this oblivion and the violence of human society, he became an alcoholic. But the most interesting thing in Red Peter's monologue is that Kafka does not present this process of humanization as a story of emancipation or of liberation from animality, but rather as a critique of colonial European humanism and its anthropological taxonomies. Once captured, the ape says he had no choice: if he did not wish to die locked up in a cage, he had to accept the 'cage' of human subjectivity.

Just as the ape Red Peter addressed himself to scientists, so today I address myself to you, the academicians of psychoanalysis, from my 'cage' as a trans man. I, a body branded by medical and juridical discourse as 'transsexual', characterized in most of your psychoanalytic diagnoses as the subject of an 'impossible metamorphosis', find myself, according to most of your theories, beyond neurosis, on the cusp of - or perhaps even within the bounds of - psychosis, being incapable, according to you, of correctly resolving an Oedipus complex or having succumbed to penis envy. And so, it is from the position assigned to me by you as a mentally ill person that I address you, an ape-human in a new era. I am the monster who speaks to you. The monster you have created with your discourse and your clinical practices. I am the monster who gets up from the analyst's couch and dares to speak, not as a patient, but as a citizen, as your monstrous equal.

As a trans body, as a non-binary body, whose right to speak as an expert about my condition, or to produce a discourse or any form of knowledge about myself is not recognized by the medicinal profession, the law, psychoanalysis or psychiatry, I have done as Red Peter did, I have learned the language of Freud and Lacan, the language of the colonial patriarchy, your language, and I am here to address you.

(...)

In November 2019, Paul B. Preciado was invited to speak in front of 3,500 psychoanalysts at the École de la Cause Freudienne's annual conference in Paris. Standing up in front of the profession for whom he is a 'mentally ill person' suffering from 'gender dysphoria', Preciado draws inspiration in his lecture from Kafka's 'A Report to an Academy', in which a monkey tells an assembly of scientists that human subjectivity is a cage comparable to one made of metal bars. Demonstrating the discipline's complicity with the ideology of sex, gender and sexual difference dating back to the colonial era, Preciado was heckled and booed and unable to finish. The lecture, filmed on smartphones, ended up published online, where fragments were transcribed, translated and published with no regard for exactitude. Eighteen months on, Can the Monster Speak? is published in a definitive translation for the first time.

'Read here the words of a monster, brought to you unedited and without embellishment! Yes, it is true - the monster speaks! But he does not speak the language of castration and penis envy, nor is he fluent in lack and misrecognition. This monster speaks in his own words, and he does not speak as a subject, as an individual but rather as part of a constantly mutating "somatheque". The monster announces the fall of the father, the end of Oedipus, the solidarity of the monsters. This short book is powerful, dangerous, important. Read it alone but share it with friends. Whisper its secrets and tell everyone its message - the monster of whom you speak, has left his cage.'
- Jack Halberstam, author of Trans*: A Quick and Quirky Guide to Gender Variability

'Drawing on decades of radical trans theory, Preciado presents not just a searing critique of the psychoanalytic establishment, but also a bold challenge to it. Calling for a paradigm shift that will have an impact way beyond its intended field, Can the Monster Speak? demands its audience to think politically, granting new power to previously marginalized voices.'
- Juliet Jacques, author of Variations

'The joy of reading Preciado, whether or not one has the theoretical tools to support or refute him, is the single and singular life that pulses in every word, and speaks to the individual within each of us and not - as all too often - to our persona.'
- Les Inrockuptibles

'Written in a mutant language that owes much to Kafka, the master of metamorphoses, this radical text is a welcome insurrection against the psychoanalyst's couch.'
- L'OBS

'- Can The Monster Speak? is a ... beautifully-worded short read, challenging both those who are dismissive of trans rights and those who can't see beyond the binary options in transitioning from one gender role into the other, and presenting instead a radical future that encompasses the diversity of human beings.'
Isabel Thomas, BUZZ MAGAZINE

'Preciado ... is a skilled rhetorician and distinctly anti-histrionic in his presentation of the facts of his experience....The book, which could easily have lapsed into a study of an object, becomes the document in which the object argues to be recognised: that the trans-individual be considered valid as a person, not an illness.'- Joshua Jones, 3am Magazine

'Preciado, in laying bare the historically constructed epistemological cage of binary gender initially codified by Freud and reified by Lacan and generations of students, gives an archaeology of knowledge that is deft enough to position him as his own cohort's answer to Foucault. Like Foucault, Preciado employs the historical to show how critical theory can in turn dissect, explode, and become the political.'
- Review 31

Paul B. Preciado is the author of Counter-Sexual Manifesto (Columbia University Press), Testo Junkie: Sex, Drugs and Biopolitics (The Feminist Press) and Pornotopia (Zone Books), for which he was awarded the Sade Prize in France. He was Head of Research of the Museum of Contemporary Art of Barcelona (MACBA) and Director of the Independent Studies Program (PEI) from 2011 to 2014. From 2014 to 2017 he was the Curator of Public Programmes of documenta 14. He is currently Curator of Public Programmes at the Palais de Tokyo and lives in Paris.

Frank Wynne has translated works by authors including Michel Houellebecq, Patrick Modiano, Jean-Baptiste Del Amo, Javier Cercas, Carlos Manuel Álvarez and Virginie Despentes. His work has earned various awards, including the IMPAC Dublin Literary Award and the Independent Foreign Fiction Prize; he has twice been awarded both the Scott Moncrieff Prize and the Premio Valle Inclán.

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Esteemed ladies and gentlemen of the École de la Cause Freudienne, and I do not know whether it is worth also extending a greeting to all those who are neither ladies nor gentlemen, because I doubt that there is anyone among you who has publicly and legally repudiated sexual difference and been accepted as a fully fledged psychoanalyst, having successfully completed the process you refer to as 'The Pass', which permits you to practise as an analyst.

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Kiss My Genders Exhibition Catalogue - Hayward Gallery

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Kiss My Genders Exhibition Catalogue - Hayward Gallery

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https://www.cornerhousepublications.org/publications/kiss-my-genders/

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"...these dazzling works of transgender art are a glorious assault on our assumptions" - Jonathan Jones, The Guardian *****

Kiss My Genders celebrates the work of more than 20 international artists whose practices explore and engage with gender fluidity, as well as non-binary, trans and intersex identities.
Featuring works from the late 1960s and early 1970s through to the present, and focusing on artists who draw on their own experiences to create content and forms that challenge accepted or stable definitions of gender.

Working across painting, immersive installations, sculpture, text, photography and film, many of these artists treat the body as a sculpture, and in doing so open up new possibilities for gender, beauty, and representations of the human form.

This publication includes texts from writers, theorists, curators, poets and artists who have made key contributions to thinking in the field.

From pop culture and gender dissidence to the embrace of the 'monstrous' or 'freaky', from the politics of prose to trans-feminism and politics on the street, each of these writers throws light on a different way of seeing. Also featured is a round-table discussion between a selection of artists and exhibition curator Vincent Honoré.

In addition to these original texts, the book reprints a key text by Renate Lorenz and includes poetry by Travis Alabanza, Jay Bernard and Nat Raha.

Published on the occasion of the exhibition, Kiss My Genders at Hayward Gallery, London (12 June - 8 September 2019).

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Kiss My Genders - Cornerhouse Publications

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"...these dazzling works of transgender art are a glorious assault on our assumptions" - Jonathan Jones, The Guardian ***** Kiss My Genders celebrates the work of more than 20 international artists whose practices explore and engage with gender fluidity, as well as non-binary, trans and intersex identities.

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https://www.vam.ac.uk/shop/exhibition-ranges/fashioning-masculinities-the-art-of-menswear/fashioning-masculinities---official-exhibition-book-hardback-163185.html

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Special V&A price £25

At a moment of unprecedented creativity in men's fashion, and continuing reflections on gender, contemporary designers are questioning established forms, seeking to liberate wearers from traditional models of masculine dress.

This book combines fashion with artistic and broader cultural histories - looking at the designers, tailors and artists who have constructed and performed masculinity from the Renaissance to the present day. It traces connections across and beyond European menswear, celebrating both rich traditions and daring individualists.

Divided into three parts, Undressed reveals the role of the body and underwear in fashioning masculinities. Overdressed explores the power dynamics of sartorial bravado, while Redressed deconstructs a modern masculine uniform: the black suit.

Featuring a staggering range of cultural touchstones from Hercules to Virgil Abloh, Giovanni Battista Moroni to Jawaharlal Nehru, Yves Saint Laurent to Kehinde Wiley, Marcus Rashford, Marlene Dietrich and even Captain America, Fashioning Masculinities challenges our preconceptions about menswear, revealing the fascinating historical roots beneath the power, artistry and diversity of masculine attire and appearance today.

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Fashioning Masculinities - official exhibition book (hardback)

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Special V&A price £25 At a moment of unprecedented creativity in men's fashion, and continuing reflections on gender, contemporary designers are questioning established forms, seeking to liberate wearers from traditional models of masculine dress. This book combines fashion with artistic and broader cultural histories - looking at the designers, tailors and artists who have constructed and performed masculinity from the Renaissance to the present day.

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https://www.thebutchmonologues.com/

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UPCOMING EVENTS

This is a last chance to see the show live. Real-life testimonies from butches, masculine-presenting females, transmen and gender rebels based in the UK, USA, Caribbean, Ireland, Australia and more, gathered by writer Libro Levi Bridgeman and directed by Julie McNamara.

The Butch Monologues first toured in 2015. Since then it has been staged at sell-out shows at venues and festivals worldwide, including the UK, Ireland and New York Abron Arts, La Mama, Outburst, Shout!, Homotopia, L Fest, Just Like a Woman. The show has been presented 3 times at WOW on London's Southbank. Following a tour to Australia in 2019 the company brings the show back to online audiences across the globe.

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UPCOMING EVENTS This is a last chance to see the show live. Real-life testimonies from butches, masculine-presenting females, transmen and gender rebels based in the UK, USA, Caribbean, Ireland, Australia and more, gathered by writer Libro Levi Bridgeman and directed by Julie McNamara. The Butch Monologues first toured in 2015.