Presented as part of the Imagining Queer Europe Then and Now conference, this panel included the two presentations, followed by a discussion moderated by Delwar Hussain. Grinjo Joseph (Tezpur University) presented, ‘European Queer 70s and Becomings: Spatiality, Queerness and Bombay Dost’; and Paris-based artist and poet Tarek Lakhrissi presented, ‘Planets and stars and time travel: a French queer of color perspective of time’. The panel took place on the second day of the conference, on March 15, 2019, at Traverse Theatre, Edinburgh. Abstracts of Joseph and Lahkrissi’s presentations can be read here. Photograph by Chris Belous.
Day 3 of Imagining Queer Europe Then and Now began with a discussion between Grietje Baars (City Law School, University of London) and Nat Raha (Edinburgh College of Art) about contemporary activism, poetry, and what queers can learn from the activist cultures of not only from the 1970s, but also the 1980s. Laura Guy moderated.
Day 3 of CRUSEV’s Imagining Queer Europe Then and Now conference concluded with a collective action of discussion and imagining led by CRUSEV UK team members Fiona Anderson and Benny Nemerofsky Ramsay. Conference members were invited to engage in conversation about the core themes that the conference sought to address, which were printed on large banners spread across a theatre space at the Traverse Theatre. Themes included: Archiving, Imagining, Decolonizing, Translating, Border Crossing, Self-Fashioning, and Cruising. Participants were invited to create new banners or contribute to, edit, or otherwise modify the existing banners.
The Imagining Queer Europe Then and Now conference ended with Graham Bell Tornado‘s spectacular live performance, ANTITAINMENT ’70 at Edinburgh’s Traverse Theatre. The musical cabaret performance combined singing, video projections and sociopolitical commentary focused on comparisons between British performers with their Spanish contemporaries, addressing the different levels of freedom experienced by queers in 1970s UK and post-Franco Spain. Photo by Conny Karlsson Lundgren.
Presented as part of the Imagining Queer Europe Then and Now conference, this panel included three presentations. The panel began with a short Q&A moderated by Fiona Anderson in which artist Liz Rosenfeld discussed her her performance lecture, Resisting Interpretation. This was followed by ‘Reflections on Hubert Fichte’s Essay on Puberty (1974)’, presented by William Martin (Al Quds Bard College of Arts and Sciences); and ‘Harvesting Time: The Legacy of Jean Genet and the Post-Algerian French 1970s’, presented by Jackqueline Frost (Cornell University and Université Paris 8).The panel took place on the second day of the conference, on March 15, 2019, at Traverse Theatre, Edinburgh. Abstracts of Martin and Frost’s presentations can be read here.
Presented as part of the Imagining Queer Europe Then and Now conference, this panel included the two presentations, followed by a discussion moderated by Roberto Filippello. Maria Bühner (Leipzig University) presented, ‘“I thought I was the only one that felt that way”: The 1970s as a turning point for the ways to feel about homosexuality in East Germany?’. Javier Cuevas del Barrio (Universidad de Málaga) presented, ‘Queer Theory, Visual Culture, and “emotional resistances” in Torremolinos (Spain) during the Sixties and Seventies’. The panel took place on the second day of the conference, on March 15, 2019, at Traverse Theatre, Edinburgh. Abstracts of Bühner and Cuevas del Barrio’s presentations can be read here. Photograph by Chris Belous.
The second keynote discussion at Imagining Queer Europe Then and Now featured celebrated London-based artist Sunil Gupta speaking with University of Sussex scholar Flora Dunster about over four decades of producing images. Gupta presented a slideshow of images of photographs and print ephemera from exhibitions and publications of his projects from the 1970s through to today. Gupta and Dunster’s conversation took place on March 15, 2019 at Edinburgh’s Traverse Theatre. Photographs by Chris Belous.
Imagining Queer Europe Then and Now opened with a conversation between Royal Holloway professor Mandy Merck and University of Newcastle fellow Laura Guy. Merck charted a history of feminist, lesbian, and queer media cultures in the United Kingdom since the 1970s, accompanied by a slide show of archival images assembled by Merck and Guy. The event took place at the Wee Red Bar at the Edinburgh College of Art on March 14, 2019. Photographs by Benny Nemerofsky Ramsay.
Berlin-based artist Liz Rosenfeld narrated an hour-long performance lecture as the opening event on Day 2 of the Imagining Queer Europe Then and Now conference on March 15, 2019. The audience was led into a darkened theatre space at Traverse Theatre, where they heard Rosenfeld’s voice over speakers, but could not see her. Rosenfeld recounted the many ways cruising functions as a theme and method in her practice, pointing to key moments in her career, and screening three short videos that directly addressed the theme, including the premiere of Between Revolutions (2019). Audience members were invited to ‘cruise’ around the space while she spoke, moving from chair to chair, corner to corner, in the darkroom atmosphere Rosenfeld created.
As part of the opening day of CRUSEV’s Imagining Queer Europe Then and Now conference, Stockholm-based artist Conny Karlsson Lundgren presented his multi-media installation ‘(Dissident) Dance Actions’. The piece is the result of research Karlsson Lundgren undertook in the archives of Denmark’s Bøsseaktivisterna (The Gay Activists), and takes form in textiles, film, and a video in which three dancers reënact gestures from the group’s dance actions in the 1970s. Karlsson Lundgren led the audience of approximately fifty conference attendees through his research processes, and screened the moving image material. The event took place at Edinburgh’s Stills Gallery on March 14, 2019. Photographs by Benny Nemerofsky Ramsay and Nat Raha.
CRUSEV’s final conference, Imagining Queer Europe Then and Now began with a welcome event at the Edinburgh College of Art’s Wee Red Bar. Participants travelled from across the United Kingdom, Ireland, France, Sweden, the Netherlands, Germany, Poland, Spain, Canada, the United States, Palestine, and India to attend the conference. Everyone assembled at the bar to register, pick up stylish CRUSEV conference merchandise, eat outrageously delicious donuts, listen to 70s music, meet old friends and colleagues, and make new ones. The CRUSEV team welcomed the crowd and initiated the first day of conference activity.
You, Dear Doctor, Are My Only Rescue!, an epistolary performance co-produced by CRUSEV’s Polish and UK teams, was presented on April 17 at Scala Cinema in Brno, Czech Republic. Programmed by Katerina Lisková of Masaryk University, the performance involved the transcribing, reading, and recirculating letters written to Socialist era Polish sexologists in the original Polish and in English and Czech translation.
Performer Anne Tuckova describes her experience of the Brno staging of You, Dear Doctor, Are My Only Rescue!: “…there were people who came specifically for the performance, and then there were also people coming and going tangential or separate from the performance, either going into the theatre to see a film or going to the bar to get a drink, and the bathroom door on the mezzanine really needs some oil! A bit of hub-bub and I thought it would be distracting. But … once we sat down to write the letters and read, all those things disappeared. And I thought — this is really a perfect metaphor for the queer experience, really much more than if it had been in a quiet room. Because we’re in the world, and the world goes on around us, and at the same time we’re part of the world. And sometimes the world ignores us — just running about its daily business. And sometimes it stops and stares. This is exactly what happened in this performance and I thought it was perfect. But what was also interesting is that once we started writing and reading, we were so absorbed in what we were doing that it really seemed as if each of us had a bubble around us, that we were individually very vulnerable (and more vulnerable for being exposed like that) and yet… in those moments of focus, that world beyond that bubble almost didn’t exist. I felt that this was a perfect echo of the text of the letters. The writers in those letters (and by extension, those of us who were re-writing and reading the letters) were living in a world that ignored them, that viewed them as curiosities, or something in between that, but the writers were venturing out past their own vulnerabilities into that space where they didn’t quite belong and making a space for themselves. And this was what we did as well. From this perspective, it seemed to me that our performance, our intervention, was a physical manifestation of the letters in a way that — had we been in a quiet, enclosed, art-designated space, would not have been as powerful. Having spoken to some people who were observing the performance, it seems they felt the same way — that we were vulnerable, that they needed to pay close attention to us and protect us with their attention, in some way.”
More details and documentation at https://sexualknowledge.fss.muni.cz/performance
Thursday 14 – Saturday 16 March 2019
Programme for CRUSEV UK’s conference, featuring artists, academics and activists exploring queer histories and cultural expressions of the 1970s offer the political present.
Thursday 14 – Saturday 16 March 2019
All events are free to attend and open to all. Please book free tickets for each day you intend to join us via Eventbrite.
Thursday 14th March
Wee Red Bar, Edinburgh College of Art
74 Lauriston Pl, Edinburgh EH3 9DF
Registration, Tea, Doughnuts
Welcome from the Organisers
3.15pm – 4.45pm
Opening in-conversation event: ‘Deviations and Conversions Seventies Style’ – Mandy Merck (Royal Holloway, University of London) with Laura Guy (Newcastle University)
4.45 – 5pm – Tea Break
5pm – 6.20pm
‘Spanish Underground Cinema and Queer Transnationalism’ – Film screening and discussion.
Teo Hernández, Images du bord de la mer, 1969, 36 mins
Iván Zulueta, Roma-Brescia, Cannes, 1974 (excerpt)
Celestino Coronado, The Lindsay Kemp Circus, 1973 [3-minute clip]
Stills, 23 Cockburn St, Edinburgh EH1 1BP
7.30pm – 8.30pm*
‘(Dissident) Dance Actions’ – Screening and presentation by Conny Karlsson Lundgren, Artist
Friday 15th March
Traverse Theatre 2, 10 Cambridge St, Edinburgh EH1 2ED
10am – 11.15am*
‘Resisting Interpretation’ – Performance lecture by Liz Rosenfeld, Artist
(Please note that there’ll be no entry for the performance after 10.10am)
11.15 – 11.45am – Tea Break
11.45am – 12.45pm
Panel: ‘Queer Temporalities, Sexual Boundaries’
‘Reflections on Hubert Fichte’s Essay on Puberty (1974)’ – William Martin, Al Quds Bard College of Arts and Sciences
‘Harvesting Time: The Legacy of Jean Genet and the Post-Algerian French 1970s’ – Jackqueline Frost, Cornell University and Université Paris 8
12.45pm – 1.45pm – Lunch [provided]
1.45pm – 3.15pm
Panel: ‘Queer Colours of Archives’
‘European Queer 70s and Becomings: Spatiality, Queerness and Bombay Dost’ – Grinjo Joseph, Tezpur University
‘Patrick Kelly at Le Palace: Lost things, Dead Ends, and the Mythology of Visual Documentation’ – Sequoia Barnes, Edinburgh College of Art
‘Planets and stars and time travel: a French queer of color perspective of time’ – Tarek Lakhrissi, Artist, Poet and Writer.
3.15pm – Tea Break
3.45pm – 5.15pm
Panel: ‘Queer Feelings, Emotional Resistances’
‘Heteronormativity and the Repression of Lesbianism in the 1970s French Women’s Liberation Movement’ – Ilana Eloit, London School of Economics and Political Science (LSE)
‘“I thought I was the only one that felt that way”: The 1970s as a turning point for the ways to feel about homosexuality in East Germany?’ – Maria Bühner, Leipzig University
‘Queer Theory, Visual Culture, and “emotional resistances” in Torremolinos (Spain) during the Sixties and Seventies’ – Javier Cuevas del Barrio, Universidad de Málaga
6pm – 7.30pm
‘Do you have place?’ – Keynote discussion with Sunil Gupta, Artist, and Flora Dunster (University of Sussex)
7.30pm Dinner [provided for speakers]
Saturday 16th March
Traverse Theatre 2, 10 Cambridge St, Edinburgh EH1 2ED
Lavender Menace Returns – book stall run by Bob Orr and Sigrid Nielsen, Traverse Theatre Bar
Traverse Theatre 2
10am – 11.15am
‘The place of the transfagbidyke is in the revolution’ – Discussion with Grietje Baars (City Law School, University of London) and Nat Raha (Edinburgh College of Art)
11.15 Tea Break
Panel: ‘Desiring Aesthetics’
‘And sex? Re-reading representations of queer desire in 1970s Polish artistic practices’ – Aleksandra Gajowy, Newcastle University
‘On Sequins and Shit. The Sense of Radical Dress in Mario Mieli’s Transsexual Utopia’ – Roberto Filippello, Edinburgh College of Art
‘“Nuremberg For Mothers”: Tony Duvert, French Boy Lovers and the problem of power’ – Paul Clinton, Goldsmiths, University of London
1.15pm – 2.30pm – Lunch [provided]
2.30pm – 3.30pm
Panel: ‘Self-fashioning, self-organising’
‘A personal journey into the radical past of a gay fetish club in Eindhoven, Netherlands’ – Sam Ashby, Artist / Filmmaker
‘Back to the Sweatshop: revisiting ‘early’ lesbian and gay theatre’ – Stephen Greer, University of Glasgow
3.30pm – Tea Break
4pm – 5.30pm
‘F*ck the Future: Imagining Queer Europe’
‘ANTITAINMENT ’70’ – Closing performance by Graham Bell Tornado, Artist
Reception, Traverse Theatre Bar
Live subtitling (speech-to-text transcription) will be provided for all discussions and presentations, except for the performances marked with an asterisk (*).
Films with sound will be subtitled in English
The Wee Red Bar, Edinburgh College of Art
The Wee Red Bar has Ramped/Sloped Access and Automatic Doors. It is accessed from the main Edinburgh College of Art quad, between the temporary Reception and the Cafe. There are accessible toilets and gender neutral toilets within the building.
All areas of the building are fully accessible by wheelchair including lifts and toilets. Guide dogs are welcome.
From the Cambridge Street entrance there is level access to the box office. There is lift access to the bar café and theatres, and adapted toilets on the box office and bar café levels. We also have gender neutral toilets and everyone is free to use the toilets that best reflect their gender identity. Guide and hearing dogs are welcome. Please mention when booking if you require lift access to Traverse 1 or Traverse 2, and make yourself known to Front of House staff on arrival. The Front of House Manager will meet and accompany you to the theatre.
Organised by Cruising the Seventies, UK Team – Fiona Anderson, Glyn Davis, Nat Raha, Benny Nemerofsky Ramsay, Moira Thomson
The turn of the 1970s in culture, science and politics
On January 12, 2019 the Polish CRUSEV team hosted the first seminar this year (and twelfth overall). The guest speaker was Maciej Gdula, professor of sociology at the Institute of Sociology at the University of Warsaw. In his lecture, Gdula proposed a critical reformulation of how to think about the 1970s in Poland, in many ways contrary to the dominating historical narrative. Instead of focusing on the political history (e.g. the protests and the rise of Solidarity), Gdula discussed a number of crucial transformations occurring in that decade in Polish society, culture and academy. He argued that the 1970s were a period of rapid changes happening both within the socialist system and in society, foreshadowing the gradual turn to capitalism traditionally associated with the fall of communism in 1989.
Queer in Polish film from the early 1970s
On January 19, 2019 the Polish CRUSEV team hosted the second seminar this year (and thirteenth overall). The guest speaker was Justyna Jaworska, an Assistant Professor at the Section for Film and Visual Culture of the Institute of Polish Culture at the University of Warsaw. Jaworska presented a case study from the 1970s – a critical and queer reading of the short documentary film Hair (1971), directed by Marek Piwowski, who is best known for his satirical comedy film The Cruise (1970), which he co-wrote with Janusz G?owacki. The 17-minute long Hair is seemingly a report from the 9th Hairdressing Competition of the Socialist States for the Friendship Cup, which took place in Warsaw in 1971. In the eyes of the filmmaker, however, the propaganda event is transformed into a satirical and ironic parody of not only the hairdressing competition, but the entire communist system of values and meanings. Jaworska proposed a different reading of the documentary, focusing on its intriguing subversive undertones and queer sensibilities, e.g. the relation between camp and queerness, and the use of the aesthetic of mistakes. She argued that Hair could be productively read using Jack Halberstam’s concept of queer failure. In the discussion after the lecture, the participants of the seminar addressed other historical contexts and possible applications of queer theory to the analysis of Polish films from the 1970s, offering more reflections on the idea of finding a local, historically-specific understanding of “the Polish k?ir”, Jaworska’s proposed reframing of “queer”.
6 x Polish Public Events
On February 22nd, Agnieszka Wiciak presented her work collecting and indexing LGBTQIA FEM archival materials obtained from various private and institutional donors. Wiciak shared samples of the collection and described ways in which they were acquired. She emphasized that many privately held collections include fliers, photographs, personal affects and correspondence, but they are in danger of being destroyed upon holders’ death. Her organization, dubbed “History Club,” seeks to prevent this outcome by fielding donations of these artefacts. Wiciak also talked about her efforts to photocopy and annotate her existing collection in order to post it online with the KARTA archive (which documents social history), as this would make it widely accessible. Her project is facing funding challenges for this purpose. It is also in need of a facility in which the collection could be safely stored.
On March 8th, Monika Baer presented some findings from her “Divercity” project, focusing on ways in which access to public spaces and resources in Wroc?aw is negotiated between activists, municipal authorities, and other actors. She drew parallels between some contemporary developments and older subcultures from the 1970s and 1980s, noting for example, the present-day activist strategy of speaking about sex in public. She also discussed methodological issues that arose in the course of her study, including some linked to the political and cultural history of Wroc?aw, formerly known as Breslau, which was a German city up to the end of the Second World War. Notably, the cruising areas of Wroc?aw seem to have remained the same ones as those of Breslau after the city was handed over to Poland as part of the post-Yaltan world order.
On March 22nd, Tomasz Basiuk, Polish PI, presented on the emergence of gay male social networks and on the progressive thematization of homosexuality in everyday discourses during the 1970s and early 1980s as prerequisites for subsequent political activism in the late 1980s, calling these earlier times a proto-political era. Calling on oral history interviews with two women and with a number of men, and on letters sent by homosexual men in Poland to HOSI Wien in the early 1980s, he traced the gradual overcoming of an unwritten social contract regarding silence on the homosexual question. His paper will be published as part of the “Pink Tongue” section in the upcoming issue of InterAlia.
On March 29th, Marta Abramowicz presented her research on the situation of young bi- and homosexual pupils and students (aged 14 – 25). Abramowicz is a psychologist and expert on preventing discrimination, She is the author of the nonfiction books: Zakonnice odchodz? po cichu (Nuns Leave in Silence)and Dzieci ksi??y (Children of Priests). In her talk, Abramowicz focused on the structural problems of violence in schools, discrimination based on sexual orientation, and lack of acceptance from parents. Referring to her research (e.g. statistical data) and comparing the situation of homosexual and heteronormative pupils, she talked about the psychological effects of discrimination on non-normative pupils and students. The ensuing discussion focused on discrimination at school and the changes in attitudes of Polish society towards LGBT people.
On April 5th, Anna Dobrowolska, a doctoral candidate in history at the University of Oxford, presented on female and male prostitution in the People’s Republic of Poland based on documents produced by the state police (officially known as the Citizens’ Militia) and used for its internal training purposes. These documents testify to a wide range of discursive categories used to conceptualize the phenomenon of prostitution and its relationship to a shifting legal, ideological, and economic environment. Notably, moral evaluation of prostitution evolved with the development of state socialism and its changing beliefs about what constitutes a good society. Compared to the wealth of information on female prostitution, male prostitution received scant attention. The male sex workers’ servicing of male clientele was dubbed “homosexuality” without any ostensible claim about these workers’ sexual identities.
On April 12th, B?a?ej Warkocki, member of the Polish CRUSEV team, presented on his recent book on Witold Gombrowicz’s 1933 literary debut read through the lens of Eve Kosofsky Sedgwick’s argument about homosociality, paranoia, and the gothic. Warkocki argued that the volume of short stories, with their focus on the theme of immaturity, is readable as alluding to queerness, not least because of allusions to Oscar Wilde. He further pointed out that some of the stories rely on distinctly gothic motifs, used by Gombrowicz also in some of his later work, and that they lend themselves to being read in the manner proposed by Sedgwick in Between Men and in The Coherence of Gothic Conventions. The discussion which followed the talk focused on the opposition between reading Gombrowicz’s work as coded life writing versus reading it as an implicit theory of queerness presented through the figure of immaturity.
Tuesday November 13 2018
Conference Room 1.06
University of Edinburgh
Benny Nemerofsky Ramsay presents the first instalment of a queer listening group at Edinburgh College of Art.
Screams and Whispers: A Queer Listening Group at the Edinburgh College of Art
Queer aurality will be imagined through a series of deep listening sessions of sonic material from archival and contemporary sources. The listening will last about one hour, followed by thirty minutes of discussion. The group is convened by artist and PhD researcher BennyNemerofsky Ramsay, who will also curate the first session. www.nemerofsky.ca All welcome!
Tuesday, November 13, 6-7:30PM
Conference Room 1.06 Alison House, Edinburgh College of Art, University of Edinburgh
More information: email@example.com
Documentación parcial del histórico simposio de Crusev España Resistencias del Sur, celebrada el 27 y 28 de abril de 2018 en el Institut Valencià d’Art Modern.
Documentación parcial del histórico simposio de Crusev España Resistencias del Sur, celebrada el 27 y 28 de abril de 2018 en el Institut Valencià d’Art Modern. El programa completo se puede ver aquí.
Friday, April 27, 2018
Archivos Precarios/Archivos Militantes II
Alejandro Simón/Marta Echaves/Jesús Bravo, Olga Maroto, Felipe Rivas.
Moderator: Jesús Carrillo.
Conversación: Poéticas Lésbicas en los años 70.
Meri Torras and Mari Chordà
Saturday, April 28, 2018
Andrea Corrales, Francisco Godoy, Lucía Egaña (video no incluido). Moderator: Noemi de Haro.
20-22 September 2018
University of Warsaw
Programme for CRUSEV Poland’s symposium, addressing sexual citizenship in the context of to queer lives, practices, and expression in Poland during the 1970s and in Central and Eastern Europe (CEE) during the Cold War.
Sexual Citizenship, Oral History, and the Archive in 1970s Central and Eastern Europe
University of Warsaw, September 20-22, 2018
Thursday, September 20: Symposium Day 1
14:00 Optional visit to The POLIN Museum of the History of Polish Jews, ul. Mordechaja Anielewicza 6
“The Muranów Lily”: audioguide art by Benny Nemerofsky Ramsay
Those interested please write to firstname.lastname@example.org by Monday, Sept. 17.
University of Warsaw Rectorate Building – Casimir Palace, Joachim Brudzinski room (ground floor), ul. Krakowskie Przedmiescie 26/28
17:00hrs – Opening remarks
Glyn Davis, University of Edinburgh, and Fiona Anderson, University of Newcastle
Lecture by Franko Dota, University of Rijeka – ‘The Socialist Homosexual Citizen in Yugoslav Legal and Medical Debates (1960-1984)’
Film screening by Karol Radziszewski, independent artist – ‘Afterimages / Kruzing’ [Powidoki / Kruzing],
followed by Q&A led by Aleksandra Gajowy, University of Newcastle
Friday, September 21: Symposium Day 2
UW American Studies Center, Al. Niepodleglosci 22, room 116
Dobrochna Kalwa, University of Warsaw – ‘In the Service of Herstory. Oral history and the construction of feminist collective memory in Poland’
10:30hrs coffee break
11:00hrs session 1
Elena Likhomanova, Podruzhestvo, and Ksenia Gushchina, Moscow State University – ‘Across the Decades: Narrative Interviews with Soviet Feminists and Lesbians of 1970s and 1980s’
Magdalena Staroszczyk, University of Warsaw – ‘‘No one talked about it’: the paradox of lesbian identity in pre-1989 Poland’
Ladislav Zikmund-Lender, Society of Queer Memory, Prague – ‘“I Love Shakespeare’s Sonnets and I am looking for someone to read them with.” The Role of Culture in Czechoslovak Queer Memories from the 1960s to 1980s’
Karolina Morawska, University of Warsaw – ‘Images of queer men in the 1970s Poland – four portraits’
Katerina Lišková, Masaryk University – ‘Conceptualizing Socialist Sexual Citizenship. The case of male homosexuality and male sexual deviance in Czechoslovakia’
15:00hrs coffee break
15:30 – 17:30hrs session 2
Agnieszka Koscianska, University of Warsaw – ‘“Currently, homosexuality is not considered a deviation, but a psychosexual otherness:” homosexuality, therapy, and sex education in late state socialist Poland’
David Kurkovskiy, Fellow at the Centre of East European Studies, University of Warsaw – ‘Gay sex “scandal” before gay went global: a closer look at the Soviet anti-sodomy law, international responses and “queer” cultural artifact in the case of Sergei Parajanov’
Jedrzej Burszta, University of Warsaw – ‘Coming Out to a Queer Life: individual voices and urban queer networks in 1970s Poland’
Tomasz Basiuk, University of Warsaw – ‘Conceptualizing Male Homosexual Identity in 1970s Poland. Some findings from oral history interviews and from letters sent to HOSI Vienna’
Saturday, September 22: Day 3
UW American Studies Center, Al. Niepodleglosci 22, room 116
Sarah Schulman, The City University of New York – ‘Let The Record Show: ACT UP and The Enduring Relationship of AIDS’
10:30hrs coffee break
11:00hrs session 3
Aleksandra Gajowy, Newcastle University – ‘The Palace and The Toilet: Cruising queer desire in the urban space of socialist Poland’
Blazej Warkocki, Adam Mickiewicz Univesity – ‘Transgresje as a Queer Archive in the Context of Narratives About Pre-1989 Poland’
Mateusz Król, University of Silesia – ‘Queens and Faggots, Petites Folles et Pedales – what happens when Lubiewo is translated into English and French?’
Duzy Pokój, ul. Warecka 4/6 (enter from ul.Kubusia Puchatka).
Agnieszka Koscianska and Benny Nemerofsky Ramsay. – “You, doctor, are my only rescue! / Jest pan, panie doktorze, jedynym ratunkiem!”
CRUSEV Poland’s Agnieszka Koscianska introduces her new book – a book long conversation with the sex educator and youth therapist Wieslaw Sokoluk, in which Sokoluk tells the story of sex education handbook he co-authored in 1987.
Crusev Poland’s Agnieszka Koscianska introduces her new book, Instrukataz nadmierny, published this summer:
Instrukataz nadmierny (An Excessive Instruction, published by Wydawnictwo Czarne, based in Wolowiec, Poland) is a book long conversation with the sex educator and youth therapist Wieslaw Sokoluk. In the book, Sokoluk tells the story of sex education handbook he co-authored in 1987. Although sex education has been offered in Polish schools since the late 1960s, initially there was no handbook. It was only in September 1987, when a handbook finally appeared. The handbook turned out to be remarkably progressive. It caused many controversies and was banned from schools after two months. It went further than any available sex and marriage manual for adults, which on the one hand affirmed sexuality, but on the other were rather conservative in their description of gender roles, placing sex in marriage. The handbook was also significantly more progressive than earlier sex education publications addressed to young people. While these publications explained in detail issues such as development, the physiological and psychological problems of adolescence or the physiology of reproduction, they were vague about sexuality and pathologized everything other than procreative marital intercourse. The 1987 handbook was explicit about teen sexuality and affirmed its various manifestations. It did not pathologize masturbation and it discussed issues like sexual techniques and sexual pleasure. It also called homosexual relationships “analogues” to heterosexual ones.
Sokoluk based the handbook on his experience in youth counselling and education. Since the late 1970s, he travelled from school to school throughout Poland and answered students’ questions. He also operated the youth telephone hotline and collaborated with youth magazines; in both cases he answered sexuality related questions. Moreover, he ran the youth advisory centre at the Planned Parenthood Association in Warsaw, which consisted of a walk-in clinic and a mail counselling service. As he told me, while writing the handbook he had all his students’, clients’ and correspondents’ questions and letters in mind.
Finally, the book consists a chapter on changing therapeutic and educational approaches towards homosexuality in late state socialist Poland. Sokoluk talks about letters he received from his homosexual correspondents and how he responded to them.
Call for Papers
14 – 16 March 2019
Imagining queer Europe then and now explores cultural expressions of LGBTQ struggles across Europe in the 1970s, asking what queer histories of this decade might offer in the political present.
Call for Papers: Cruising the Seventies: Imagining queer Europe then and now
14 – 16 March 2019
Keynotes: Sam Bourcier, University of Lille; Fatima El-Tayeb, UC San Diego, and others TBC
Cruising the Seventies: Imagining queer Europe then and now explores cultural expressions of LGBTQ struggles across Europe in the 1970s, asking what queer histories of this decade might offer in the political present.
The decade that lies between the early expressions of Gay Liberation in the US in the late 1960s and the onset of the HIV/AIDS crisis in the early 1980s occupies a central place in the imaginary of queer politics and the histories that are told of it. Across Europe in the 1970s expressions of queer sexuality manifested unevenly. Through legislative changes, organised rights movements, and counter-cultural practices, LGBTQ individuals and groups emerged into tentative public visibility informed by anti-colonial struggles and in exchange with the Women’s Liberation Movement.
The burgeoning of an emergent LGBTQ politics in this period was shaped through cultural expressions. The circulation of manifestos, experimental literature, film and art, and the aesthetic dimensions of political activism, all represent crucial forms through which queer life was lived and imagined. Revisited through the lens of the present, cultural expressions of LGBTQ activism in the 1970s allow a discontinuous history of queer visibility to appear, one that has been variously mythologised and marginalised, its political possibilities limited, subsumed, and opened out.
At a time of uncertainty in Europe we hope to excavate these unrealised possibilities of queer pasts. We invite papers for an international conference that explore cultural expressions of queer community and politics at a formative period in the history of postnational Europe. We welcome contributions from academics, activists, and artists that turn to aesthetics in order to explore the radical manifestations of queer politics, community, and sexuality across Europe in the 1970s.
With a focus on cultural expressions and aesthetic dimensions of the queer 1970s, possible topics could include but are not limited to:
- Methods and methodologies for addressing the 1970s in the present including perspectives on queer historiography;
- Cultural, dialogic and/or sexual exchanges between Western and Central Europe;
- Histories of movement and migration between European colonies and countries, including tourism to former European colonies;
- The impact of religious, legal and medical discourses and institutions on nascent expressions of LGBTQ visibility;
- Spaces of sexual liberation and queer struggle such as bookshops, bars and cafes, parks and public toilets, and the domestic sphere;
- Intersections between Gay Liberation with anti-colonial struggles, the Third World and Women’s Liberation Movements, socialism and other Left movements;
- The ways that the 1970s influenced or has been imagined through queer theory;
- Reference to the 1970s in contemporary queer activism and art.
Expressions of interest in the form of 250-word abstracts for 20-minute papers or proposals for alternative formats should be sent to email@example.com by 5pm, Friday 14 September 2018.
We welcome submissions from academics, artists and other cultural producers, activists, independent researchers, and groups. For alternate formats, we will work with applicants to find suitable venues where necessary.
Please feel free to contact us at firstname.lastname@example.org if you would like to discuss your submission in advance of the deadline.
There will be no fee to take part in this conference. Additionally, we are committed to supporting those who work precariously either within or outside of the academy. In recognition of these conditions, bursaries will be available for speakers who do not have access to institutional support. These will support travel and accommodation. Please indicate on your proposal if you would like to be considered for one of these bursaries.
The events will take place across a range of spaces in Edinburgh including academic and non-academic ones. All events associated with the conference will be free and wheelchair accessible. Where possible events and screenings will be accompanied by live or closed captions and translation.
Cruising the Seventies: Unearthing Pre-HIV/AIDS Queer Sexual Cultures explores LGBTQ (Lesbian, Gay, Bisexual, Transgender, Queer) social and sexual cultures of the 1970s, and their significance for LGBTQ people across Europe now and in the future. CRUSEV reconstructs aspects of LGBTQ cultures and interactions from the 1970s, the decade before HIV/AIDS, to consider what this knowledge can contribute to queer politics and identity in Europe’s present and future. The three-year research project is financed by the European funding agency HERA, under HERA’s ‘Uses of the Past’ theme.
Wednesday 27 June 2018
18.00 – 19.30 hrs
RoSa vzw, Brussels, Belgium
Benny Nemerofsky Ramsay presents his navigational score for the library of the RoSa Kenniscentrum voor Gender en Feminisme, which leads participants through the collection following feelings, memories and personal curiosities.
Wednesday 27 June 2018
18.00 – 19.30 hrs
RoSa vzw, Zennestraat 30, Brussels 1000, Belgium
As part of a research residency at Q-O2, artist Benny Nemerofsky Ramsay has created a participatory navigational score for the library of the RoSa Kenniscentrum voor Gender en Feminisme, which houses extensive materials on feminism, gender topics and the Flemish Women’s Movement. The score leads participants through the collection following feelings, memories and personal curiosities, and involves reading, speaking, transcribing and letter-writing.
REGARDS is a special gathering to activate the score for the first time in a group setting. Nemerofsky will briefly introduce the project, and then participants will be invited to enact the score at their own pace. The score will be available in English, Dutch and French. The gathering will be followed by drinks and discussion at the nearby Q-O2 studio, where the artist-designed ‘Pensée’ cocktail will be served.
The event is free, but please register your participation with Benny at email@example.com
Benny Nemerofsky Ramsay is a Montreal-born artist and diarist based in Edinburgh. His artistic work mediates emotional encounters with musical, art historical and Queer cultural material, encouraging deep listening and empathic viewing. In his work you will find bells, bouquets, ceramic vases, enchanted forests, folding screens, gay elders, glitter, gold leaf, love letters, imaginary paintings, madrigals, megaphones, mirrors, naked men, sex-changing flowers, sign language, subtitles, and the voices of birds, boy sopranos, contraltos, countertenors, and sirens. Nemerofsky’s work has been exhibited internationally, and is part of the permanent collections of the Kunsthistorisches Museum Vienna, the Polin Museum for the History of Polish Jews in Warsaw, Thielska Galleriet Stockholm and the National Gallery of Canada in Ottawa. He is a member of the Cruising the Seventies: Unearthing Pre-HIV/AIDS Sexual Cultures research team at the Edinburgh College of Art. www.nemerofsky.ca
“Rozowy jezyk” (Pink Tongue) the first part of the Polish milestone event, was a one-day workshop devoted to the terminologies and linguistic practices related to queerness.
The first part of the Polish milestone event took place on June 9 at the University of Warsaw. The event, called “Rozowy jezyk” (Pink Tongue) was a one-day workshop devoted to the terminologies and linguistic practices related to queerness. The language of the workshop was Polish and the discussion was focused on Poland and on the Polish language, with some speakers using a comparatist approach.
Six speakers gave longer papers: prof. Mariola Bienko (University of Warsaw [UW]) discussed the results of a sociological survey on attitudes toward homosexuality whose participants were asked to list and characterize terms they use and/or know that describe queers. She offered an analysis based on such factors as education and age of respondents. Piotr Moszczenski, psychologist and activist with the Stonewall Group in Poznan, spoke about the use of the terms “homophobia” and “heterosexism” in public discourse and the arguments and strategies underpinning these terms. Jan Szpilka, doctoral candidate at UW, spoke about the Polish BDSM scene and the terminologies it uses in its practices and to describe itself.
In the second session, Ludmila Janion, doctoral candidate at UW, spoke about the terms used for homosexual and transgender persons at the time of the post-1989 transition and the concepts which these terms suggest. Matthias Foit, a scholar based in Berlin and Wroclaw (Breslau), spoke about some German terms used for homosexual and transgender persons, emphasizing their similarity to some Polish terms. He gave a number of examples from personal ads published in the German-language papers in Wroclaw (Breslau) in the interwar years. Karolina Morawska, doctoral candidate at UW and member of the CRUSEV team reported on her research on the language used in same-sex personal ads in the Polish press at the cusp of the 1970s and the 1980s, as well as in other press publications.
The final session was a panel discussion with CRUSEV team members: Agnieszka Koscianska (also acting as moderator), Karol Radziszewski, Krzysztof Zablocki, Jedrzej Burszta, and Tomasz Basiuk. Each of them gave a very brief presentation of their research. Koscianska focused on the language used by sexologists and in letters addressed to sexologists. Radziszewski described his research on Ryszard Kisiel, especially Kisiel’s ways of expressing his queer identity and his efforts to preserve the memory of the sites of queer sexual activities from the Communist era. Zablocki spoke about aspects of his work as translator of Jean Genet and Andre Gide. Burszta discussed his oral history interviews, emphasizing some subjects’ resistance to contemporary identity labels. Basiuk presented some findings from his archival research at the HOSI Wien archive, which includes letters sent to the organization by Polish gays. A general discussion followed on identity categories and identifying codes and practices directed at the queer community, as well as addressing the straight majority, and on the tension between these two approaches.
The workshop was attended by about thirty people, including scholars, UW students, and LGBTQ activists.
The Warsaw Equality Parade, the city’s annual pride event, took place in the late afternoon of the same day, directly after the CRUSEV workshop closed.
On 25 May 2018 the Polish CRUSEV team hosted its final public seminar before the university’s summer break. The invited speaker was Professor Remigiusz Ryzinski, author of Foucault w Warszawie (Foucault in Warsaw), recently nominated for the prestigious Polish “Nike” literary award in the category of reportage. Ryzinski talked about his archival research and the oral history interviews behind the book, in which he uses Michel Foucault’s nine-month stay in Warsaw as a pretext to describe the city’s queer life at the end of the 1950s. Ryzinski shows that the “homosexual milieu” in Warsaw and in other Polish cities was being investigated by the state police years ahead of the much better known “Hyacinth” campaign in the mid-1980s. He also speculates that the Palace of Culture, a Stalinist-era building looming over the city’s centre and visible from the street where Foucault lived, may have inspired the philosopher’s notion of the panopticon. Foucault in fact worked on Madness and Civilization while staying in Warsaw, where he directed the newly founded Centre de Civilization Francaise at the University of Warsaw. He was forced to leave Poland abruptly in July 1959, probably to avoid a diplomatic scandal related to his homosexuality.
Symposium – Call for Papers
20-22 September 2018
University of Warsaw, Poland
University of Warsaw, September 20-22, 2018
CALL FOR PAPERS
With his concept of sexual citizenship, David T. Evans offered a framework for thinking about sexuality as a matter for civic and human rights. Can this perspective apply to queer lives, practices, and expression in Poland during the 1970s and in Central and Eastern Europe (CEE) during the Cold War more broadly?
References to underground queer cultures of the era are traceable in literature, film, and professional publications by sexologists and state police experts. Some of these references are veiled in the culturally sanctioned silence around queer sexualities and they need to be noted and explained. Others represent the state’s surveying eye, typically focused on homosexual men, and the professional’s gaze, often focused on the transsexual.
Given the limitations of the available archive, oral history interviews are an important source for understanding the queer past. They may dovetail with the framework of sexual citizenship because the interviews address both the material conditions of queer lives and the ways in which queer subjects have conceptualized and represented those lives. By allowing queers to voice their stories, prominence is given to their lived sexual difference and to their dissent. While Polish and other CEE queers may not have articulated specifically political demands in the 1970s, many developed an alternative ethos, one cutting diagonally across some established social institutions.
Some of the questions this symposium seeks to explore are: How to tell the history of Polish and other CEE queers in the 1970s and prior to their partial political emancipation post-1989? Is it one history or rather many histories, influenced by gender, class, and ethnicity, as well as geopolitical location? What kind of impact did the East/West divide, which defined the political era, have on queer experience, queer networks, and queers’ sense of belonging? What is the relationship between queer lives, both individual and collective, and civic rights? Is Evans’s framing applicable to the Polish and other CEE contexts of the period? What is the meaning of doing queer history now? What can we learn from our inquiries into the past, and from oral history specifically?
We invite empirically grounded, as well as theoretical and methodological, papers that address these and related questions. Please submit your abstract (max. 250 words) and bio (max. 150 words) to firstname.lastname@example.org by June 26. Decisions about acceptance of abstracts for this workshop will be emailed by July 3.
Saturday 9 June 2018,
University of Warsaw:
The Polish CRUSEV team have organised a workshop – ‘Pink Tongue’, in English – which will explore different historical approaches to the history of sexuality.
The Polish CRUSEV team are holding an event – ‘Pink Tongue’ in English – on 9 June in Warsaw. Here is the full programme for the event, in Polish.
– warsztaty poswiecone jezykowi seksualnej odmienczosci w ujeciu historycznym
9 czerwca 2018 r.
Osrodek Studiów Amerykanskich UW
Aleja Niepodleglosci 22, Warszawa
9:30 – 11:00
Moderatorka: Agnieszka Koscianska
1) Mariola Bienko: (Nie)konwencjonalne narracje na temat nieheteronormatywnosci
2) Piotr Moszczenski: „Homofobia – to sie leczy?” O potrzebie demedykalizacji jezyka oporu
3) Jan Szpilka: Od pazia do kinkstera, od algolaganii po BDSM. Probujac okreslic sadomasochizm
11:00 – 11:15: przerwa kawowa
11:15 – 13:15
Moderator: Tomasz Basiuk
1) Mathias Foit: Jezyk seksualnej innosci w II Rzeszy Niemieckiej i Republice Weimarskiej
2) Blazej Warkocki: Miedzy detabuizacja o normalizacja. Slowo o nieheteroseksualnej stronie w biografii Gombrowicza
3) Ludmila Janion: „Homoseksualisci, którym w zyciu nie powiodlo sie” – ciota w mediach lat dziewiecdziesiatych
4) Wojciech Szymanski: Apofatyka i epifania: kruzingi Ryszarda Kisiela
13:15 – 14:00: przerwa lunchowa
14:00 – 15:30
Panel projektu CRUSEV – Cruising the 1970s.
Moderatorka: Agnieszka Koscianska
Panelisci: Tomasz Basiuk, Jedrzej Burszta, Karolina Morawska, Krzysztof Zablocki, Karol Radziszewski
15:30: zakonczenie warsztatow
CRUSEV UK team member Benny Nemerofsky Ramsay’s audio project Trees Are Fags launched at LUX Moving Image in London on May 18, 2018. Co-commissioned by CRUSEV and LUX, the thirty-minute audio walk explores the history and aesthetics of gay sex cruising in city parks, making a number of arguments about the links between gay men and trees, unpacking the etymology of the word faggot, proposing the bassoon as the voice of arboreal homosexuality, and asking the listener to tune in to the temporal modes of arboreal life. A shuffling collection of choreographic cues, based on the gestural and affective dimensions of cruising, guide the listener on a search not for another human, but for a tree who might be their lover. The cues are programmed so that each user has a different experience of the piece, and is led on a different path. The launch included a conversation between Nemerofsky and LUX curator Matt Carter.
More about Trees Are Fags at www.nemerofsky.ca/trees
Report from the CRUSEV Poland seminar at the University of Warsaw, with Dr. Maria Debinska discussing her anthropological research on transgenderism in the People’s Republic of Poland in the 1970s and 80s.
The sixth public seminar organized by the Polish CRUSEV team was held at the University of Warsaw on Friday, April 20, 2018. Our guest was Dr. Maria Debinska.
Dr. Debinska discussed her anthropological research on transgenderism in the People’s Republic of Poland, focusing mostly on the 1970s and 80s. Debinska study focused on popular publications by Polish sexologists. She argued that expert discourse on transsexuality was inspired by both a medicalizing and a sociological approach, as Polish sexologists were developing a language that would be appropriate to the difficult experience of their patients.
Debinska also presented a concise historical overview of the way the Polish judiciary was making it possible for a Polish citizen to legally change her or his gender. The Polish state used to be significantly more supportive of trans people than it is nowadays: medical costs were covered by the state and the legal procedure was simpler than it is today. Before 1989, people who wanted to legally transition did not need to sue their parents, as they do now; the courts would decide on gender reassignment solely on the grounds of expert medical and psychological opinion. However, Debinska discussed the contrast between the state’s supportive stance and the everyday discrimination of trans people.
An underlying and perennial heterosexual bias in Polish sexologists’ approach to transsexuality has been the explicit goal of ushering patients into a “healthy” heterosexual relationship and marriage. Unlike in the case of “sex correction”—as gender reassignment was called at the time—the goal of heterosexual marriage was not achievable for others, notably not for homosexuals. The methods available to “treat” homosexuality were increasingly deemed ineffective. At the same time, professionals perceived non-monogamous relationships as detrimental and even “perverse.”
The event was attended by about forty people, marking the rising interest which these seminars evoke.
Friday 28 – Saturday 29 April 2018
Institut Valencià d’Art Modern, Valencia, Spain
Complete, bilingual programme for CRUSEV Spain’s international conference, rethinking the culture and politics of sexual dissidence in 1970s Spain.
INTERNATIONAL CONFERENCE: RESISTANCE FROM THE SOUTH. USES OF THE PAST, PERIPHERIES AND THE SPACES OF SEXUAL LIBERATION
April 27 and 28 2018
Institut Valencià d’Art Modern (IVAM)
Calle Guillen de Castro 118, 46003 VALENCIA
All screenings, panels, and discussions will take place at the IVAM’s Lecture Hall (Salon de actos) unless otherwise indicated.
Documentos para el Congreso pueden descargarse haciendo clic en los títulos de papel con enlaces.
Papers (in Spanish) for the conference can be downloaded by clicking on the paper titles with links.
Thursday, April 26, 2018
16.30-18.30 h.- Sesión de cine: SEXUALIDADES SUBVERSIVAS EN EL CINE UNDERGROUND ESPAÑOL, 1969-1982.
[Film program: SUBVERSIVE SEXUALITIES IN SPANISH UNDERGROUND CINEMA, 1969-1982.]
Friday, April 27, 2018
10.00-11.45 h. – GENEALOGÍAS DISIDENTES
- Brice Chamouleau (Université Paris 8 Vincennes-Saint-Denis), Resistencias ‘queer’ a la impolítica hispánica en tiempos del consenso. [Queer resistances to Spanish “impolitics” in times of consensus]
- Kerman Calvo (Universidad de Salamanca), ¿Lees en inglés o en Francés? El origen de las ideas liberacionistas en España. [Do you read English or French? The origin of liberationist ideas in Spain]
- Francisco Molina (UNED-Centro Asociado de Mérida), La tensión entre teoría y biografía: Las sexualidades disidentes en el ocaso de las dictaduras ibéricas. [The Tension between theory and biography. Dissident sexualities in the twilight of Iberian dictatorships]
- Javier Ugarte (Investigador independiente), Antes de que nacieran las identidades LGBT. [Before the Birth of LGBT Identities]
Moderator: Gracia Trujillo (Universidad de Castilla La Mancha)
11.45-12.15 h.- Break
12.15-14.00 h.- NARRATIVAS FÍLMICAS. ILUMINANDO EL CUARTO OSCURO [FILM NARRATIVES. LIGHTING UP THE CLOSET]
- Santiago Lomas (Universidad Carlos III de Madrid), Hacia una reconsideración de lo homosexual en el cine español del segundo franquismo: el caso de Casa Flora (1973) [Reconsidering homosexuality in the Spanish cinema of the second Franco era: The case of Casa Flora (1973)]
- Eduardo Nabal (Investigador independiente), Otra mirada a Eloy de la Iglesia [Another Look at Eloy de la Iglesia]
- Alberto Berzosa (Universidad de Murcia), Cine y sexpolitique en los años 70. [Cinema and sexpolitique in the 1970s]
- Alejandro Melero (Universidad Carlos III de Madrid), Archivo y censura en el cine sexploitation del tardofranquismo. [Archive and censorship in sexploitation film in late Francoist Spain]
Moderator: Alberto Mira (Oxford Brookes University)
14.00-16.00 h.- Lunch break
16.00-17.30 h.- ARCHIVOS PRECARIOS/ARCHIVOS MILITANTES I.
[PRECARIOUS ARCHIVES / MILITANT ARCHIVES I]
- Rafael M. Mérida Jiménez (Universitat de Lleida), Archivos y contrarchivos trans* para la España de los años 70. [Trans* archives and counter-archives for 1970s Spain]
- Diego Marchante (Universitat de Barcelona), Archivo T*. Hackeando el archivo desde una perspectiva transfeminista y queer. [T* Archive: Hacking the archive from a queer and transfeminst Perspective]
- Julen Zabala (Universidad del País Vasco / Euskal Herriko Unibertsitatea), ¿POR QUÉ NO(S) T.E.M.E.I.S? Tiempo, Espacio y Memoria de las Expresiones e Identidades Sexuales: aproximación a la producción científica y archivos serodiscordantes sobre la disidencia sexual. [The Time, space, and memory of sexual identities and expressions: Scientific production and serodiscordant archives on sexual dissidence]
Moderator: Francisco Godoy (Matadero Madrid)
17.30-18.00 h.- Pause
18.00-19.30 h.- ARCHIVOS PRECARIOS/ARCHIVOS MILITANTES II.
[PRECARIOUS ARCHIVES / MILITANT ARCHIVES II]
- Alejandro Simón/Marta Echaves/Jesús Bravo (Universidad Complutense de Madrid/ Sala d’Art Jove de Barcelona/ Activista), A veces resulta inquietante que no sepamos de dónde vienen las formas de vida que hoy nos habitan. [Sometimes, it is unsettling not to know where the lifestyles that inhabit us come from]
- Olga Maroto (Investigadora independiente / Independent Researcher), Desempolvando el archivo LGTBIQ y feminista de la ciudad de Valencia. [Dusting up the LGTBIQ and feminist archives of the city of Valencia]
- Felipe Rivas (Universidad Politécnica de Valencia), La poética tecnobarroca de un archivo homosexual. [The Technobaroque poetics of a homosexual archive]
Moderator: Jesús Carrillo (Universidad Autónoma de Madrid)
19.40-20.40. – CONVERSACIÓN: POÉTICAS LÉSBICAS EN LOS AÑOS 70
[CONVERSATION: LESBIAN POETICS IN THE 1970S]
Salón de Actos
- Meri Torras (Universitat Autónoma de Barcelona)
- Mari Chordà (Poeta, pintora, activista / Poet, painter, archivist)
21:30 h.- Dinner and club visit
Saturday, April 28, 2018
10.00-11.45 h.- CONTRARELATOS.
- Diego Mendoza (Universidad de Granada), La necesidad política y vital de prácticas de archivo transfeministas/queer/transmarikabibollo desde Andalucía. [The vital and political urgency of a transfeminist/trans-queer archive in Andalusia]
- Bartolomé Limón (Universitat Politècnica de València), Análisis y construcción del movimiento y la figura queer en Sevilla y su contexto desde los 70 hasta nuestros días. [Analysis and construction of the queer movement and queer subject in Seville from the 1970s to the present]
- Pau López (Universitat de València), Reflexividad y empatía como principios metodológicos para el (re)conocimiento de una historia activa, honesta y plural. Un caso desde el estudio del movimiento LGTBI+ valenciano. [Reflexivity and empathy as methodological principles for the (re)cognition of an active, honest, and plural history: The Study of the LGTBI Movement in València]
- Sayak Valencia (El Colegio de la Frontera, Tijuana), Back and forward: Feminismo chicano-lesbiano: disidencia sexual y memoria cuir. [Back- and Forward: Chicano Lesbian Feminism: Sexual Dissidence and Queer Memory]
Moderator: Virginia Villaplana (Universidad de Murcia)
11.45-12.15 h.- Break
12.15-13.45 h.- SEXILIOS. [SEXILES]
- Andrea Corrales (Investigadora independiente / Independent Researcher), Geopolíticas de la intimidad I: encuentros de diagnóstico. [Geopolitcs of Intimacy I: Diagnostic Encounters]
- Francisco Godoy (Matadero Madrid), Copi o la dificultad de expresarse. Exilio sexual y performatividad sudaca. [Copi, or the difficulty to speak. Sexual exile and sudaca* performativity]
[NOTE*: Without equivalent in English, sudaca is a derogatory Spanish term for anything Latin American, people included]
- Lucía Egaña (Programa de Estudios Independientes-MACBA), Un sexilio frustrado. Memorias familiares de la diáspora [A Frustrated sexile. Family memories of diaspora]
Moderator: Noemi de Haro (Universidad Autónoma de Madrid)
13.45-16.00 h.- Lunch break
16.00-17.30 h.- FIESTAS Y OTRAS RESISTENCIAS.
[PARTYING AND OTHER FORMS OF RESISTANCE]
- Lourdes Santamaría (Universidad Miguel Hernández de Elche), El cuarto oscuro del Glam, o cómo ser queer avant la lettre. Contracultura Underground en los textos, cómics y canciones de Rampova Cabaret. [The dark room of Glam, or how to be queer avant-la-lettre. Underground counterculture in the texts, comics, and songs of Rampova Cabaret.]
- Alejandro Martín y Javier Cuevas (Universidad de Málaga), Torremolinos, 1962-1971: de la fiesta como resistencia a la redada. [Torremolinos, 1962-71: From the party as a form of resistance to the police raid]
- Iñaki Estella (Universidad Carlos III de Madrid), Políticas del cabaret durante los 70 en Barcelona. [The Politics of cabaret in 1970s Barcelona]
Moderator: Juan Vicente Aliaga (Universitat Politècnica de Valencia)
17.30-18.00 h.- BREAK
18.00-18.40 h.- PERFORMANCE DE CIERRE: Antitrenimiento, de Graham Bell Tornado
[CLOSING PERFORMANCE: Antiteinment, by Graham Bell Tornado]
Wednesday 11 April 2018
Involving archivists, conservators, theorists and practitioners, this one-day workshop focused on the subject of material as a means to approach histories of subcultural style. Includes a keynote talk on the semiotics of desire with fashion anthropologist Ted Polhemus.
10:30am, Free (places booked via email)
Glasgow CCA, Clubroom
‘Leather and Latex: Materials, Morals and Subcultural Style’ is a one-day workshop focused on the subject of material as a means to approach histories of subcultural style. Involving archivists, conservators, theorists and practitioners the day expands upon the social meanings and political potentialities surrounding these two materials and how they might be historicised and preserved.
Leather and latex are associated with various subcultural codes, styles and tastes. A kind of “second skin” leather has been synonymous with outlaw communities and dissident sexualities, from post-war bike clubs to ‘80s leatherdyke bars. If leather is authentically like a skin, latex substitutes. Worn as clothing, latex exaggerates and distorts, is eroticised and wipe-clean. Expanding on the cultural codes that shape tastes and create styles, ‘Leather and Latex: Materials, Morals and Subcultural Style’ turns to the properties of material in order to seek new approaches to historiographies of subcultural style.
The day will include contributions from Grace Biggins, an archivist working with the Leather Archives UK held at Bishopsgate Institute; fashion designer Theresa Coburn; Dr Anita Quye who has published widely on the preservation of synthetics; artist Craig Mulholland and a keynote from fashion anthropologist Ted Polhemus (details below), whose seminal work has celebrated the ways that subcultures have shaped fashion and style has transformed culture over the past four decades.
The event is free but places are limited. Please contact email@example.com if you would like to attend.
Ted Polhemus: Talk and Q&A
Wed 11 April 2018, 4:30pm, Free but ticketed
A talk on the semiotics of desire with fashion anthropologist Ted Polhemus, whose seminal work has celebrated the ways that subcultures have shaped fashion and style has transformed culture over the past four decades.
“For more than thirty years Ted Polhemus has explored and celebrated the extraordinary ways that popular culture opens a window onto a broader understanding of the world we live in. Never judgemental, never the ‘style guru’ some have erroneously labelled him, he scrupulously avoids distinguishing between the good, the bad and the ugly – while always thrilled by the creativity of all those ‘real people’ who, decade after decade, have given constant impetus to music, style, design, dance and so many of the things which made and make our age that unique period in human history when Culture went pop! and became truly democratic.”
Leather and Latex: Materials, Morals and Subcultural Style is organised by Dr Laura Guy and Dr Fiona Jardine with support from Glasgow School of Art, the University of Edinburgh, Cruising the Seventies: Unearthing Pre-HIV/AIDS Queer Sexual Cultures and the Humanities in the European Research Area.
Access: The CCA Clubroom has level access, via a lift. For full details, see the CCA website here.
Image: Theresa Coburn/John Barraclough, 1983
A report from CRUSEV Poland’s seminar with Dorota Hall, discussing her ethnographic research with LGBT Christians and discourses around homosexuality, bisexuality and transgenderism in the Roman Catholic Church
The fifth public seminar organized by the Polish CRUSEV team was held at the University of Warsaw on Wednesday, March 7, 2018. Our guest was Dr. Dorota Hall.
Dorota Hall discussed her extended study of LGBT Christians, encompassing an ethnographic study of a church-based Wiara i Tecza (Faith and Rainbow) group, interviews with members of the group and with other LGBT Christians, and an analysis of public discourse, including some teachings of the Roman Catholic Church. Although she spoke about Christians of different denominations, Roman Catholics are by far the most numerous in Poland and most of her subjects were Roman Catholic. Moreover, most Protestant churches in Poland have avoided addressing LGBT issues, falling in line with the country’s deep-seated conservatism without offering a clear alternative to religiously inclined LGBT subjects.
Hall argued that during the 1970s the Roman Catholic Church in Poland was relatively silent on the issue of homosexuality and almost entirely silent on bisexuality and transgenderism despite pastoral documents such as Persona Humana (1975). While many LGBT subjects may have internalized the proscription of same-sex activities and desires, these points were rarely addressed in sermons or in other public contexts. The 1970s and the early 1980s thus saw an erasure of homosexuality from the Church’s preaching in a way that reflected a larger erasure of homosexuality in other areas of public discourse.
The silence began to lift with the arrival of HIV/AIDS and of more outspoken LGBT politics. Brochures warning boys about being seduced by older men were circulated in some parishes in the late 1980s. But a more radical shift occurred only post-2000, as Poland was preparing for EU accession, when the perceived threat of LGBT rights being recognized proved deeply polarizing. In 2002, the Roman Catholic Church in Poland went through its first public sexual scandal with Juliusz Paetz, the archbishop of Poznan, being accused of molesting some young clerics. Homosexuality was thus out of the closet also within the Church.
Hall addressed some ways in which the pastoral care of LGBT Christians overlapped with reparative therapy advocated by some would-be progressive Catholics. Despite the method’s discredited premises and doubtful effectiveness, these forms of therapy may have helped some queer subjects recognize and address their sexuality, especially as other forms of therapy were not available to them.
Thursday 1 March 2018
Exeter Phoenix, Exeter, Devon
Agnieszka Koscianska and Benny Nemerofsky Ramsay will be staging their bilingual performance installation of LGBT letters to Polish Sexologists in Exeter
Thursday 1 March 2018
Exeter EX4 3LS
[EN] Letters written to sexologists in socialist Poland – collected by anthropologist and historian Agnieszka Ko?cia?ska – serve as a source material for a performance installation in which an ensemble of performers reviews, transcribes and reads passages aloud in Polish and English.
The performance, created by artist Benny Nemerofsky Ramsay and produced by the Cruising the Seventies Research Group, seeks to reveal the shifting, overlapping positions of queers in Poland struggling to define their identities, build communities and take control of their destinies, painting a portrait of the evolving sexual consciousness of the era.
First performed at Edinburgh’s Basic Mountain, “You, Dear Doctor…!” is now coming to Exeter’s Phoenix. The performance will be followed by a talk by Ko?cia?ska on the roots and purpose of this project and an open discussion with the audience.
Please RSVP at deardoctor.eventbrite.com or on Facebook. More details below. Admission is free of charge. The venue is wheelchair accessible. As of now, we apologize that we are not able to provide BSL interpretation or live transcription for this event.
[PL] Zapraszamy na darmowe wydarzenie po?wi?cone historii seksualno?ci oraz seksuologii w Polsce. Zaczniemy od performance zrodzonego ze wspó?pracy Agnieszki Ko?cia?skiej i Benny’ego Nemerofsky Ramsay’a, po czym us?yszymy nieco wi?cej szczegó?ów na temat ?róde? i celu tego projektu od Agnieszki. Reszt? wieczoru po?wi?cimy dyskusji z publiczno?ci?. Prosimy o potwierdzenie RSVP na stronie deardoctor.eventbrite.com lub bezpo?rednio przez FB. Wi?cej szczegó?ów poni?ej.
Performance wyrasta z listów do seksuologa zebranych przez antropolo?k? i historyczk? seksualno?ci Agnieszk? Ko?cia?sk?. W jego trakcie grupa performerów przepisze odr?cznie i odczyta na g?os ich fragmenty po polsku i po angielsku. Akcja jest prób? pokazania sytuacji seksualnych i p?ciowych odmie?ców w socjalistycznej Polsce i ich walki o zdefiniowanie w?asnych to?samo?ci, zbudowanie wspólnoty i przej?cie kontroli nad swoim losem. Kre?li tym samym portret ewoluuj?cej ?wiadomo?ci seksualnej epoki PRL.
Wystawiony poprzednio w Edynburskim Basic Mountain, “Jest Pan, Panie Doktorze…!” zawita teraz do Exeter Phoenix.
Wst?p wolny. Budynek Exeter Phoenix jest dostosowany do potrzeb osób korzystaj?cych z wózka inwalidzkiego. Niestety obecnie nie jeste?my w stanie zaoferowa? t?umaczenia w formie BSL lub transkrypcji na ?ywo, za co przepraszamy.
Monday 19 February 2018
Chrystal Macmillan Building, 15a George Square, Edinburgh
Benny Nemerofsky Ramsay’s Five Ages performs a floral archaeology that explores the relationships between human history and plant life, specifically within the context of a queer aesthetics.
Mon 19 February 2018
12:30 – 13:30
Seminar Room 5
Chrystal Macmillan Building
15a George Square
University of Edinburgh Staff Pride Network are proud to present “The Five Ages” as part of our Queer Research Showcase for LGBT History Month.
The Five Ages performs a floral archaeology that explores the relationships between human history and plant life, specifically within the context of a queer aesthetics. Nemerofsky selects five flowers to symbolize distinct moments in the history of El Dorado, referencing both its incarnation as interwar Berlin nightclub and early 80s art exhibition, as well as its general application as a legendary, faraway site of utopian longing. The flowers stand in a ceramic vase designed by the artist to provide each flower with its own distinct opening. The artist arranges the flowers to interact contrapuntally, creating a bouquet of colliding and overlapping temporalities. The Five Ages was created for the 2017 Odarodle exhibition at Berlin’s Schwules Museum.
The fourth public seminar organized by the Polish CRUSEV team, with Prof Joanna Nizynska discussing the writing of Miron Bialoszewski, was held at the University of Warsaw on Thursday 11 January 2018.
The fourth public seminar organized by the Polish CRUSEV team was held at the University of Warsaw on Thursday, January 11 2018. Our guest was Joanna Nizynska, Associate Professor of Polish Literature and Culture at the Department of Slavic and East European Languages and Cultures in Indiana University, Bloomington USA. Prof. Nizynska presented excerpts from her upcoming book, a Polish translation of her study “The Kingdom of Insignificance: Miron Bialoszewski and the Quotidian, the Traumatic, and the Queer” (Northwestern UP, 2013) dedicated to the work of Miron Bialoszewski, one of the most influential Polish poets and writers of the 20th century. During her lecture, she discussed the different approaches to the use of queer theory in analyzing Polish literature, emphasizing the active role of any act of queering – perceiving “queer” not as a noun, but a verb. Nizynska closely analyzed several fragments from Miron Bialoszewski’s prose published in the 1970s, focusing on the depictions of homoerotic tensions, acts of subverting the normative, as well as the intertextual connections with more recent literary works – most importantly, Michal Witkowski’s “Lubiewo” (2005) – which form a dialogue with Bialoszewski’s early queer writing. The seminar was a chance to reflect on the complicated positioning of Polish writers within Western queer theory, the possible adaption and/or translation of queer frameworks to national literature. The ensuing discussion focused on how to overcome or challenge some of the theoretical problems facing queer-oriented scholars in their studies of Polish queer culture and history.
Much queer cultural production in 1970s Spain, whether in comics, literature, music, or film, developed under the rubric of the “underground.” In this essay commission by LUX for Cruising Ground, Juan Suárez discusses how this label is as problematic as it is in many ways expressive and appropriate through the work of Arrietta.
Its American origins made it unsuitable to Spain’s cultural isolation during Franco’s dictatorship (1939-1975) and to the prevalence of Spanish cultural motifs in underground works. At the same time, the term’s foreign origin aptly revealed the Spanish underground’s assimilation of various strands of French and Anglo-American experimental culture—the writing and cinema of Jean Cocteau and Jean Genet, the underground comics, the New York underground cinema, the writing of the Beat Generation, psychedelia, and rock (especially progressive, glam, and punk, all of which had Spanish homegrown versions). In addition, the ‘under’ in underground describes well the conditions under which Spanish countercultural artists worked through the 1970s: artisanally, collaboratively, and semi-clandestinely; they disseminated their unconventional, anti-authoritarian work through marginal channels, such as mimeographed fanzines and cheaply produced periodicals, cinema clubs, small galleries and exhibition spaces, bars, clubs, and performance venues. These channels usually managed to elude surveillance, but they were selectively targeted by the authorities. Artists, editors, and organizers of cultural events ended up enduring censorship, fines, closings, police beatings and jail terms, even in the aftermath of Franco’s death. Still, despite the repressive tenor of the times, the underground enjoyed an astonishing vitality and a considerable following. Pau Malvido, one of the scene’s best chroniclers, pointed out in 1976 that “in Spain, or whatever we want to call this peninsula, there is a lot of ‘underground’ culture. . . . Here, all that is true has been made under the ground, because on the more visible surface there will continue to be a mind-numbing television, a cartoonish political scene, a stark separation between the bosses and those bossed around.”
The underground was not an exclusively queer development, whether in Spain or elsewhere, but one of its most visible ingredients was its unconventional sexual politics. Spanish underground magazines like Ajoblanco and Star, devoted to alternative culture and politics, published queer comics, reported on the emerging sexual liberation, reviewed queer experimental film, and their “Contacts” sections reflected a broad sexual range. The two-day anarchist festival (“Jornadas libertarias”) in Barcelona in 1977 included a deranged drag show by painter-performer Ocaña, comic book artist Nazario, and some of their friends; and the Canet Rock festival, a Spanish “gathering of the tribes” celebrated yearly between 1975 and 1978, was held in an atmosphere of sexual freedom, with groups of men attending in drag and performers like Pau Riba flirting with gender ambiguity. A short list of queer artists active in these underground scenes, besides Nazario and Ocaña, would include writer Eduardo Haro Ibars, whose book Gay Rock (1975) glossed the glam phenomenon for Spanish audiences and highlighted its confluence with gay and lesbian liberation; punk bands like Kaka de Luxe, and filmmakers Iván Zulueta, Pedro Almodóvar, who started shooting in 8mm and Super-8 in the mid-seventies; and Adolpho Arrietta.
Born in Madrid in 1942, Arrietta (originally spelled Arrieta), painted and made movies from his adolescence. After failing the entrance exam to Spain’s only cinema school, he started to make personal narratives with a second-hand 16mm Kodak purchased in a street market. These were purely amateur efforts assisted by friends such as painter Juan Guiralt and actor-collaborator-companion Javier Grandes, whose performing career was solely restricted to Arrietta’s productions. Arrietta’s first two films, El crimen de la pirindola (1965) and Imitación del ángel (1967), which incorporates footage from two aborted projects, are haunting, elusive stories filmed in black and white; they combine Cocteau’s poetic surrealism, Jean Genet’s outsider (a)morality, and Arrietta’s own fascination with enigmatic angelic figures. According to historians Llorenç Soler and Joaquim Romaguera, these films made its author an isolated pioneer in Madrid at a time when marginal film production was concentrated in Barcelona.
Imitación del ángel closes with one of its protagonists (played by Grandes) taking a train to Paris, something that the actor did in real life after completing the film. He was followed there by Arrietta, who remained in France for the next two decades. Only in the late 1980s would he start producing work in Spain again, when he was commissioned an episode (Kiki) of the series Delirios de amor for Spanish national television (TVE). Arrietta’s lengthy exile, which he claims was more aesthetically than politically motivated, was far from unusual. Many other experimental filmmakers and video artists who came of age in the 1960s developed much of their careers outside of Spain, escaping from the repressive military dictatorship and early transition governments, and looking for more favorable artistic and social milieus.
Arrietta evidently found such a milieu in Paris. El crimen de la pirindola was shown at the Cinematheque Française and he was quickly adopted by Marie Meerson, Henri Langlois’s main collaborator there, and by Cahiers du cinema critics Jean-Pierre Biesse and Jean-André Fieschi, who remained steady supporters in years to come. Arrietta’s following two films benefitted from a growing circle of friends and acquaintances in the Paris film intelligentsia. Le Jouet criminal (1969) featured Cocteau’s star and lover Jean Marais, with whom Arrietta became friends; future novelist Florence Delay, who had acted in Robert Bresson’s Procès de Jean D’Arc (1962); and Michèle Moretti, one of Marc O’s main performers. And Le Chateau du Pointilly (1972), later renamed Pointilly, starred Françoise Lebrun, a performer in Jean Eustace’s and Margarite Duras’s films, and Dyonis Mascolo, Margarite Duras’s former partner and later on an actor in Jean-Luc Godard’s films as well as her own.
Image: Marie France. Les Intrigues de Sylvia Cousky, Adolpho Arrietta, 1974.
Sunday 21 January 2018
London Short Film Festival, ICA
Originally filmed in 1962 by the Ohio police, William E Jones’s Tearoom is surveillance footage, a blunt tool of oppression that documented men cruising in a public restroom. Includes a panel discussion with Crusev’s Fiona Anderson.
Sun 21 Jan 13:00 ICA
Dir. William E Jones, 1962/2007, US, 56 mins
18 recommendation – contains scenes of real sexual activity
In 2007, the video artist William E Jones presented Tearoom. Originally filmed in 1962 by the Ohio police, Tearoom is surveillance footage, a blunt tool of oppression that documented men cruising in a public restroom. This footage was eventually used as evidence to prosecute the men of sodomy and public deviancy.
In exhuming this footage 40 years later, Jones revealed hidden dimensions through recontexualisation, offering up an open democratic space where age, class and racial boundaries break down, whilst remaining a poignant reminder of the anxiety and persecution these men were forced to endure.
London Short Film Festival welcomes Dr Fiona Anderson of University of Newcastle & CRUSEV (Cruising the Seventies: Unearthing pre-HIV/AIDS Queer Sexual Cultures), to talk with filmmaker and Little Joe editor Sam Ashby (The Colour of His Hair), Tearoom video game developer Robert Yang and sculptural artist Prem Sahib for a post-screening discussion.
Prior to the screening we will also be showcasing Robert Yang’s game The Tearoom, a cruising simulation made in direct response to the film. On release, the game ran afoul of the censors and so in a bold piece of satirical provocation Yang replaced all the penises with guns. The game was then successfully passed uncut.
For further details, click here.
Report from CRUSEV Poland’s seminar on the role of women’s stories and interviews in the process of creating feminist narratives of the past in Poland, with Dr Dobrochna Kalwa, held at the University of Warsaw.
The third public seminar organized by the Polish CRUSEV team was held at the University of Warsaw on Friday, November 24 2017. Our guest was Dr Dobrochna Kalwa, a historian from the Institute of History at the University of Warsaw. Dr Kalwa gave a lecture about the history of development of women-oriented oral history research in Poland. She discussed a number of important feminist history projects conducted in recent years by Polish historians, providing a critical framework that was needed for the later introduction of the concept of “oral herstories.” The lecture also covered several issues concerning the methodological and ethical problems facing “oral historians” in their studies of women’s biographies, including the problematic nature of a “witness of history,” differences between memory and history, or the many rhetoric strategies that can be adopted by the interviewees. Further points about the application of this methodology to study “hidden” LGBTQ narratives were raised during the discussion, as well as the need to continue oral herstory research among non-normative witnesses of the recent past.
Friday 28 – Saturday 29 April 2018
Institut Valencià d’Art Modern, Valencià
Solicitud de Comunicaciones/Call for Papers
The Spanish 1970s have been subject to considerable revisionary research in the last few years, in part because of the numerous characteristics that decade shares with our own. The purpose of this conference is not to return upon well-trodden ground, but to cast some light upon those aspects of the period that have been neglected by existing accounts, and to rethink the culture and politics of sexual dissidence in 1970s Spain in relation to three frames of reference: (s)exiles, parties and other forms of resistance, and queer counter-memories / militant anarchives.
SOLICITUD DE COMUNICACIONES
“Resistencias del Sur.
Usos del Pasado, Periferias y Espacios de liberación sexual”
27 y 28 de abril de 2018
Institut Valencià d’Art Modern (IVAM)
C/ Guillen de Castro 118
// CALL FOR PAPERS
“Resistance from the Queer South:
Uses of the Past, Peripheries, and the Spaces of Sexual Liberation”
April 27 and 28, 2018
Institut Valencià d’Art Modern (IVAM)
C/ Guillen de Castro 118
[English Version below]
La década de los setenta ha sido motivo de numerosas revisiones durante los últimos años en España, en gran parte por los numerosos elementos comunes que tiene con el presente ?crisis económica, agotamiento de régimen, experimentación política y social, movilizaciones ciudadanas masivas? que en la actualidad nos hacen mirar hacia el pasado buscando explicaciones, pero también inspiración. En materia de disidencias sexuales los 70 fueron un gran espacio de experimentación, lucha y resistencia. La década comenzó con el recrudecimiento de la represión mediante la aprobación de la Ley de Peligrosidad y Rehabilitación Social (1970); la consiguiente reacción a esta ley fue la fundación en 1971 del Movimiento Español de Liberación Homosexual (MELH), el primer colectivo militante en defensa de las trans, lesbianas y gais del Estado español. Este colectivo se desarrolló en la clandestinidad, igual que eran clandestinas por entonces las vidas de quienes no encajaban en la norma heteropatriarcal. La historia del movimiento y de las bases sociales que lo atravesaron entre aquel momento inaugural y los cambios culturales y políticos que llegaron con la crisis del SIDA en los 80 al Estado español ha sido narrada ampliamente en los últimos tiempos, como parte de la revisión histórica del periodo transicional general de las periferias europeas. No queremos aquí volver a insistir sobre experiencias ya conocidas, sino arrojar luz sobre las zonas más oscuras un tanto olvidadas por los relatos existentes. Para ello acotaremos tres marcos de referencia con el fin de pensar la cultura y la política de la disidencia sexual de los setenta: los sexilios, la fiesta y otras variedades de resistencia, memoria y contrametodologías queer de los archivos precarios y militantes.
Sexilios: Dadas las condiciones de asfixiante dictadura en España, desde bien temprano el movimiento de liberación sexual representado por el MELH pudo sobrevivir únicamente gracias a los contactos de sus fundadorxs con otros grupos extranjeros, fundamentalmente franceses, británicos y estadounidenses. Con la muerte de Franco en 1975 los colectivos de gais, lesbianas y trans se multiplicaron por todo el país e igualmente sus conexiones e intercambios con otras geografías. A España llegaron referencias culturales y políticas de distintas latitudes de America Latina y del sur de Europa. Se estrecharon lazos, se tradujeron libros y llegaron lxs exiliadxs sexuales que enriquecieron los discursos del activismo y transitaron las nuevas redes de socialización tejidas entre las bases sociales de la transición. La resistencia sexual en España nacía atravesada por la idea del sexilio, como una amalgama de acentos y con una vocación solidaria e internacionalista que extendió los planteamientos sobre sexualidad y género hasta mezclarlos con los de diáspora y más adelante también con ideas sobre la raza y el mestizaje. Sin embargo, estos flujos culturales y políticos sólo se conocen a grandes rasgos, nombres como Mario Mieli, Copi o Héctor Anabitarte resuenan en un imaginario colectivo que aún está por explorar.
Fiesta y otras resistencias: La cultura de la liberación sexual atravesó los espacios marginales de la realidad española. Durante los 70, la actividad militante contra las leyes represivas y el desarrollo más o menos sumergido de nuevas formas de vida centradas en la liberación de los deseos y en la expresión desacomplejada de las sexualidades encontraron en el carácter resistente una de sus principales constantes. La creación fue terreno constante de experimentación con estrategias de resistencia, y las redes de afecto que se tejieron entre marginadxs hicieron más llevadera la opresión y facilitaron la supervivencia. El espacio común de la fiesta, que siempre había sido lugar de encuentro y complicidad entre subalternxs, se convirtió en reducto habitual de resistencia, hasta el punto de que las manifestaciones políticas fueron por momentos carnaval y los locales nocturnos y los lugares de encuentro y de ligue gay más o menos clandestinos, como parques, cines y otros entornos públicos o semi-públicos se convirtieron en espacios de conspiración en nombre de la disidencia política y sexual. La resistencia atravesaba todas las dimensiones de la vida alrededor del movimiento de liberación, pero no se conocen aún sus múltiples rostros, especialmente en las periferias peninsulares. Si bien los espacios de la fiesta y la resistencia de Madrid y Barcelona han sido documentados en testimonios personales y estudios históricos, los de otras zonas de la península permanecen aún sin explorar. Y esto es aún más evidente en el caso de las comunidades lésbica y trans, a menudo soslayadas en historias de la liberación sexual centradas en sus protagonistas masculinos.
Contrametodologías queer: El estudio del pasado, aun cuando sea relativamente reciente, plantea problemas metodológicos. Primero por el inevitable declive de sus testigos, que hace de la recuperación de la memoria vulnerable una tarea urgente y de resistencia: lxs protagonistas de los 70 conservan vivencias, recuerdos y materiales en forma de colecciones personales, que en ocasiones se encuentran en una deriva precaria que hace indispensable un trabajo de archivo militante. En segundo término porque las inercias historiográficas dominantes tienden a colonizar el pasado desde el presente y a homogeneizarlo a través de narrativas que pierden de vista su especificidad. A menudo la memoria hegemónica funciona como un ritual de poder con ánimo caníbal que, a través de las lógicas de jerarquización y catalogación, puede hacer desaparecer con facilidad la variedad de las diversidades sexuales de los 70. La precariedad y la inercia de la historia hacen necesaria una reactivación del pasado que respete su diferencia específica con respecto al presente y que busque reactivar estilos de disidencia y formas de análisis de la opresión sexual que puedan ser movilizados para la construcción del presente y el futuro. Esto ha de llevarnos a mantener un debate sobre la memoria activa del pasado como activadora del presente entre metodologías contrahegemónicas, archivos visuales y pedagogías queer críticas.
El congreso “Resistencias del sur” pretende constituirse al mismo tiempo como un espacio para la investigación y la reflexión histórica y para la experimentación metodológica en su propio funcionamiento interno. Desde la organización del congreso se plantean tres ejes temáticos Sexilios, Fiestas y otras resistencias y Contrametodologías queer/Archivos precarios/archivos militantes, para trabajar con ellos y pensar las realidades culturales, sociales y políticas de trans, lesbianas y gais en la España de los años 70, con el propósito de problematizar algunos lugares comunes respecto a su historia e indagar en los puntos ciegos que nos dejan los relatos de que actualmente disponemos.
Las propuestas deben incluir un título, cinco palabras clave, el nombre y una breve biografía de de lxs autorxs, el eje de trabajo al cual van dirigidos (de los tres indicados arriba) y un resumen que tendrá una extensión máxima de 500 palabras. El plazo de recepción de propuestas será el 8 de enero de 2018. La selección de ponencias se comunicará a partir del 22 de enero. Lxs ponentes seleccionados deberán entregar posteriormente los textos de sus comunicaciones. La extensión de estos textos será de 2500 palabras como máximo y la fecha límite de entrega el 6 de abril. Las comunicaciones aceptadas se colgarán en la página del congreso a partir del 10 de abril hasta la celebración del mismo y su lectura será obligada para lxs participantes de cada una de las mesas, de modo que durante el congreso las personas que compongan cada mesa expondrán brevemente los principales puntos de su propuesta, a fin de asegurar que el público asistente conozca su contenido, y a continuación se iniciará un debate/conversación sobre los distintos temas planteados entre todxs lxs compañerxs de las mesas, que estará abierto también a la participación de lxs asistentes.
Todas las comunicaciones han de enviarse a la dirección firstname.lastname@example.org antes del 8 de enero de 2018.
El congreso tendrá lugar los días 27 y 28 de abril de 2018 en las instalaciones del Intitut Valencià d’Art Modern (IVAM) en Valencia.
Comité organizador-comité científico: Alejandro Melero Salvador, Alberto Mira, Alberto Berzosa, Francisco Godoy, Gracia Trujillo, Jesús Carrillo, Juan Antonio Suárez, Juan Vicente Aliaga, Lucas R. Platero, María Rosón, Noemi de Haro García, Virginia Villaplana Ruiz.
El congreso está organizado como parte del proyecto “Cruising the 1970s: Unearthing Pre-HIV/AIDS Queer Sexual Cultures”, financiado por el Programa de Investigación e Innovación Horizon 2020, en su modalidad Humanities in the European Research Area (HERA), acuerdo número 649307, y ha sido coordinado desde la Universidad de Murcia en colaboración con el Intitut Valencià d’Art Modern (IVAM), de Valencia.
Universidades asociadas en CRUSEV: University of Edinburgh (Project Leader), Humboldt Universität, Universidad de Varsovia, Universidad de Murcia, University of Newcastle, Universidad Politécnica de Valencia, Universidad de Valencia, Universidad Carlos III de Madrid, Universidad Autónoma de Madrid, Universidad de Castilla-La Mancha, Oxford-Brookes University.
The Spanish 1970s have been subject to considerable revisionary research in the last few years, in part because of the numerous characteristics that decade shares with our own—both are marked by economic crisis, by the exhaustion of a dominant state model, by social and political experimentation, and by mass mobilizations. These common traits make us look back in search of explanations for our current ills, but also in search of inspiration for moving forward. From the perspective of sexual history, the 1970s in Spain were years of experimentation, struggle, and resistance; of losses and gains. The decade started with the passing of the Bill of Public Danger and Rehabilitation (Ley de peligrosidad y rehabilitación social 1970). It was promptly countered by the foundation in 1971 of the Spanish Movement for Homosexual Liberation (MELH), the pioneering Spanish sexual liberation collective, whose activities had to remain clandestine. The history of sexual liberation in Spain between that inaugural moment and the cultural and political changes that came about as a result of the AIDS epidemic has been often, if partially, told. The purpose of this conference is not to return upon well-trodden ground, but to cast some light upon those aspects of the period that have been neglected by existing accounts, and to rethink the culture and politics of sexual dissidence in 1970s Spain in relation to three frames of reference: (s)exiles, parties and other forms of resistance, and queer counter-memories / militant anarchives.
(S)exiles: In the suffocating conditions of Franco’s dictatorship, the Spanish Movement for Homosexual Liberation survived largely thanks to contacts with foreign groups—especially French, British, and North American. After Franco’s death in 1975, the number of activist cells increased significantly and exchange and collaboration with non-Spanish liberation fronts grew; these contacts resulted in the translation and edition of foreign theoretical texts and manifestoes, whose ideas influenced local activists. At the same time, Spain became a destination for Latin American sexual exiles, who enriched the discourses of activism and became integrated into Spanish networks of queer sociability. Sexual resistance in 1970s Spain was fundamentally shaped by (s)exile and, as such, it was multi-accented, solidary, internationalist, diasporic, and multi-ethnic. However, we still have a fairly incomplete knowledge of these transnational cultural and political flows and of their protagonists; the lives and work of sexual and political exiles such as Cristina Peri Rossi, Mario Mieli, Copi, or Héctor Anabitarte are well known by now, but could be further studied. Many others remain to be discovered, and the full range and dynamism of expatriate networks, and their intersections with local militant cultures, remains to be articulated.
Partying and other forms of resistance: Sexual liberation and anti-authoritarian resistance were confined to marginal locations and clandestine affect networks in 1970s Spain. Main enclaves of sexual resistance at the time were: a furtive private party scene, cruising grounds, cinemas, and scattered clubs and bars where homosexuality was tolerated. These were settings for sexual reinvention and expressiveness, and politically charged sites where normative strictures were temporarily suspended and incipient queer communities made themselves visible. While the spaces of resistance and queer sociability in the largest cities—Madrid and Barcelona—have been relatively well accounted for, those in other areas of the country are yet to be documented and studied, especially those created by lesbian, trans, and immigrant communities.
Queer counter-memory / queer anarchives: The study of the sexual past is laden with methodological problems. The inevitable decline of direct witnesses and protagonists makes the recovery of personal memories an urgent task. In the case of 1970s sexual activists, personal memory has become materialized in collections that are often in a precarious state and whose preservation and cataloguing is crucial. In addition, dominant historiographic inertias tend to colonize and homogenize the past, imposing upon it perspectives that are not its own; as a result, its specificity and sexual diversity may become obliterated or distorted. These two dangers—the precariousness of historical traces and the colonization of the past by current interests and investments—force us to confront the past through a mixture of counter-memory and critical pedagogy; the goal is its reactivation and the retrieval of forms of dissidence and analytical tools of use in the articulation of a critical present and an emancipated future. This section invites methodological reflections upon these issues that rise from first-hand experiences of examining, retrieving, or organizing and cataloguing sexual archives.
The conference “Resistance from the Queer South” wants to be both an occasion for historical reflection and research and a space for methodological experimentation. While we are focused on the production of “hard” knowledge about the queer 1970s in Spain, we welcome—encourage, in fact!—alternative research methodologies and styles of presentation.
Proposals must include: title, five keywords, name of the author(s), and indication of the thematic axis to which it contributes–(s)exiles; partying and other forms of resistance; queer counter-memory / queer anarchive)—and a summary of 500 words. The deadline for proposals is January 8, 2018. They must be mailed to: email@example.com
Notice of acceptance will be mailed by January 22, 2018. In case of acceptance, full presentations (2500 words) ought to be mailed to conference organizers by April 6, 2018; they will be made available to participants and attendees through the conference web site after April 10, previous to the celebration of the conference. In this way, presenters will be liberated from the usual routine of reading their papers and may try a more informal, dynamic style of presentation, hopefully conducive to audience involvement and active exchange.
Conference site: Institut Valencià d’Art Modern (IVAM): C/ Guillen de Castro 118, 46003 Valencia.
Contact address: Please send your queries to firstname.lastname@example.org
Scientific and Organising Committee: Alejandro Melero Salvador, Alberto Mira, Alberto Berzosa, Francisco Godoy, Gracia Trujillo, Jesús Carrillo, Juan Antonio Suárez, Juan Vicente Aliaga, Lucas R. Platero, María Rosón, Noemi de Haro García, Virginia Villaplana Ruiz.
The Conference is part of the activities of the Collaborative Research Project CRUSEV-“Cruising the 1970s: Unearthing Pre-HIV / AIDS Queer Sexual Cultures”, leadered by Glyn Davis (University of Edinburgh) and funded by the Research and Innovation Program Horizon 2020-Humanities in the European Research Area (HERA), Grant no. 649307. The Conference is coordinated by the University of Murcia in collaboration with the Intitut Valencià d’Art Modern (IVAM), de Valencia.
CRUSEV partner universities: University of Edinburgh (Project Leader), Humboldt Universität, Universidad de Varsovia, Universidad de Murcia, University of Newcastle, Universidad Politécnica de Valencia, Universidad de Valencia, Universidad Carlos III de Madrid, Universidad Autónoma de Madrid, Universidad de Castilla-La Mancha, Oxford-Brookes University
Heiner Schulze wrote a report on the CRUSEV conference ‘A Golden Age for Queer Sexual Politics?’, held in Berlin in July 2017. The report is reproduced here in full.
In issue 55 of the Bulletin-Info of the Zentrum fur transdiszplinare Geschlechterstudien, Humboldt-University Berlin, Heiner Schulze wrote a report on the CRUSEV conference ‘A Golden Age for Queer Sexual Politics?’. The report is reproduced here in full.
A Golden Age for Queer Sexual Politics? Lesbian and Gay Literature and Film in 1970s Germany
20-22 July 2017, HU Berlin
A common narrative states that the 1970s was both the start and high point of much of gay and lesbian life. The decade is hailed as the mythical pre-AIDS era: the time when queer movements emerged as political forces and queer havens in which they could live, love, and fuck were developed.
A recent conference at Humboldt University examined this narrative. A Golden Age for Queer Sexual Politics? Lesbian and Gay Literature and Film in 1970s Germany was organized by Janin Afken, Andreas Kraß, and Benedikt Wolf from the Research Center for the Cultural History of Sexuality. The conversation sought to trace the alleged revolutionary potential as well as the political and aesthetic strategies in the creation of such a “legendary decade” and questioned what is remembered and what is marginalized. Additionally, it showcased the importance of taking a closer look at the spatial and temporal context when talking about the construction of a “golden age of queer sexuality”.
The conference, which ran from July 20 to July 22, began with welcoming speeches by Ulrike Vedder, Andreas Kraß, and Glyn Davis, followed up by a screening of Ulrike Ottinger’s movie Madame X – Eine absolute Herrscherin with a short introduction by Michaela Wünsch. The movie made clear that the conference was not exclusively about (gay) men, who still dominate the discussions on this era.
After an introduction by Benedikt Wolf, the conference began with a keynote by Susanne Hochreiter. With the help of David Bowie’s song The Bewlay Brothers, which framed the keynote, Hochreiter shed light on aspects of 1) melancholy, 2) time and narration, and 3) queer memory and transformation. Hochreiter illustrated the often cited connection between melancholy and queerness, and discussed the complex layers of memory and narration. Here memory is not simply a reflection of “facts” from the past but ripe with influencing contexts which can be written, re-written, and erased.
The first panel under the title “The Canonized Queer 1970s” featured three Berlin-based speakers: Janin Afken, Patsy l’Amour laLove, and Benedikt Wolf. Janin Afken focused on Verena Stefan’s 1975 Shedding; which according to Afken is a story of transformation, in which the protagonist goes through a long process of developing an increasing awareness to the realities of (her) sexuality, eventually leading to a shift to become an emancipated “I”. Afken focused on aspects of 1) sisterhood and solidarity and 2) motherliness and menstruation in Shedding. Patsy l’Amour laLove discussed Rosa von Praunheim’s seminal movie Nicht der Homosexuelle ist pervers, sondern die Situation, in der er lebt. Contextualizing the movie production and drawing on interviews, l’Amour laLove illustrated the huge importance the movie had on queer activism. According to l’Amour laLove, von Praunheim presented the movie as a foil of what society should not be. L’Amour laLove suggests viewing the movie as the cinematic version of a manifesto, which affected gays (as well as lesbians), even if they had not seen the movie itself. Afterwards Benedikt Wolf invited the audience to examine the “language of desire” in the work of Hubert Fichte. Wolf argued that Fichte’s “vivid language” should be understood as standing besides the language of sexual oppression of the time on the one hand and the alienated language of sexology on the other hand.
In a second keynote presentation, Marc Siegel discussed how many markers of the 1970s as “legendary” leave out a variety of narratives and used film to show how one could analyze the (re)construction of the 1970s. He emphasized the strong connection between the political and artistic worlds in this decade and the importance of New Queer Cinema. Siegel stressed how important it is to look beyond the well-known narratives, for instance by taking a closer look at representations of and the role of public rest room (sex). He explained how queer politics back then could be characterized as “being out”, not just meaning coming out, but also going beyond. He also emphasized the role of New Queer Cinema, a genre not only concerned with the LGBT community, but also with critical potential and one that should be applauded for its questioning and rejection of norms, generalizations, and representation.
Chris Auld opened the next panel, “Contesting the Canon”, with the work of Rainer Werner Fassbinder and the role of camp and melodrama in it, using The Bitter Tears of Petra von Kant as an example. According to Auld, melodrama and camp can be used for political analysis as both help to illustrate ideological contradictions and tensions. The next talk discussed the radical-feminist journal Die Schwarze Botin. Vojin Saša Vukadinovi? presented the origins of the controversial journal and described its rise and demise. According to him, the journal represented a persistent radical stance in times of decreasing radicalism and increased “navel-gazing”. He situates the journal as having been influenced by Critical Theory and as an attempt to highlight the effects of “wrong thinking” as well as ideological dead ends through (harsh) critique. Peter Rehberg followed, examining the contemporary Butt Magazine, the aesthetic roots of which he sees in the gay historiography of the 1970s. Rehberg went on to showcase the aesthetic of the 1970s and the mobile and transnational character of queer erotic imaginary. Influenced by new technologies and AIDS, new aesthetics developed, which Rehberg called Clone I and Clone II. Butt Magazine can now be seen as a Post-Clone with links to the 1970s Pre-Clone. Butt Magazine, said Rehberg, seeks to present a continuity of Gay culture after the erasures of AIDS as well as a renewal of queer imagery.
The final panel of the day, “Retrospections”, featured Maria Bühner and Sebastian Zille. Bühner presented research on two books from the 1990s which dealt with the experience of lesbians in the former German Democratic Republic. She showed how both books emphasize “authenticity”, offer a historical record, create meaning, and allow us to see feelings beyond factual history. She also pointed out the limitations by stressing how those books represented only a slice of the lesbian population and left out a wide range of other experiences. Additionally, Bühner explained the importance of contextualization and emphasized how in the context of the GDR the 1980s, and not the 1970s, should actually be seen as a potential Golden Age. By doing this, she radically questioned the dominant narrative of the “legendary 1970s”, opening up the perspective beyond this specific time and place. The last panelist of the day, Sebastian Zille, gave a presentation on two HIV/AIDS-related German books and how they discuss the 1970s in retrospect. In his talk, which looked at different constructions of temporality and spatiality, he said that literary knowledge operates as an alternative form of knowledge; for him the 1970s were not simply a Golden Age, but it depends, the answer is not “either-or”.
The next day widened the perspective beyond Germany to “European Perspectives”. Alejandro Melero talked about the proliferation of German-Spanish film production at the end of the Franco regime, especially common in sexploitation movies. Melero pointed out the futility of the censorship attempts of the regime, censoring the Spanish version of the movies, just to see them get re-imported in the more permissive German version. Those movies pioneered the representation of sexual minorities, in particular of lesbians. Melero talked about the relationship between normality and the Other in those movies, with the latter, often racialized or homosexual, as a threat to heterosexual, patriarchal capitalism. Afterwards Krzysztof Zablocki gave a somewhat meandering talk about Wolfgang Jöhling, whom he called an important bridge between East German and Polish gay men. Jöhling, having grown up in East Germany, came to Poland in the 1970s, became a part of a network of gay men in arts and culture, and worked as a writer, poet, publisher, and cultural organizer. Juan A. Suárez brought the panel to a close with a presentation on three examples of the 1970s Queer Cinema: Werner Schröter, Adolpho Arrieta, and Teo Hernández. These three experimental film makers represented an important take on what queer(ness) can be in cinema. According to Suárez, their work dealt consistently with gender representations; it was ripe with “pregnant moments” full of artistic tableaus “bleeding meaning”, which were political, but were in particular about instability, remoteness, and ambiguity.
The concluding event of the conference discussed if there is a shared history of lesbians and gay men in the 1970s, featuring Tomasz Basiuk, Michael Bochow, Antke Engel, Laura Guy, Agnieszka Koscianska, and Alberto Berzosa. The general tone was that it would be too easy to assume shared history and allege the 1970s were a Golden Age. It was generally agreed upon that much more work is still needed, that researchers should attempt to unearth more different voices as well as do the work of proper contextualization.
In general the conference was successful in shedding a light on a rich cultural archive. At the same time it became clear that our knowledge and our narration of the 1970s as a potential Golden Age of Queer Sexuality is limited, a simplistic view on this decade would not do its complexity justice. The conference pointed out how cultural artifacts can function as archives, how important proper contextualization is, but also how there is still the need to (re)discover new voices from the past. Especially the contributions from/on East Germany and Poland made clear that in different contexts, other eras, not the 1970s, could be considered their Golden Age.
Video Documentation of CRUSEV Spain’s seminar on LGBTQ radical sexual politics and cultures from the 1970s, held in Madrid, June 2017
Con el seminario Millones de perversas tratamos de invocar la memoria de esos sujetos y movimientos impugnando una narrativa hegemónica centrada en la supuesta conquista progresiva de derechos LGTBIQ. Las distintas sesiones de este seminario se plantean reactivar aquellas disruptivas políticas y poéticas. POÉTICAS presta atención a lo que sucedía en lugares concretos – como la efervescente Barcelona postfranquista o los espacios expresivos lésbicos de los años setenta – en un intento de dar claves para entender las poéticas desplegadas desde el ámbito de las culturas sexuales radicales de aquella década. REDES Y AFECTOS. ¿Qué redes de afecto tramaban la vida de trans, maricas y lesbianas en la España de los setenta? Esta sesión se plantea el modo de reelaborarlas desde el presente a través de relaciones intergeneracionales, procesos performativos e investigaciones situadas que problematizan las nociones convencionales de memoria y archivo. MILITANCIAS trata sobre la pervivencia – muchas veces inconsciente – en las luchas sexo-disidentes actuales de las políticas de los años setenta. Esto se aborda en forma de diálogo entre activistas, especialistas y militantes historicxs y en activo. En resumen, Millones de perversas pretende conseguir que sean de nuevo transitables fórmulas colectivas de lucha, explora genealogías de ciertos planteamientos transgresores sobre la sexualidad y el género, y activa en nuestro presente los usos políticos de las memorias de la radicalidad sexual que el tiempo y sus narraciones oficiales han difuminado.
Presentación. Visita a exposiciones “Anarchivo Sida” y “¿Archivo Queer?”. Performance “Tensiones en un ángulo de 90º” de Laura Corcuera.
Mesa redonda con la participación de Silvia Reyes, Rampova y Luis Escribano. Moderan Juan Vicente Aliaga y Juan Antonio Suárez.
Mesa redonda con Elena Castro, Meri Torras y Txus García. Moderan Alberto Mira y Lucas Platero.
Tres activaciones: Un secreto de tu abuela se enrarece entre tus mejillas, de Ana Pol y Mónica Almagro; Memorias escondidas, del colectivo Rodando pichi; El archivo de Emilio: “Deja de sufrir, estúpido”, de Marta Echaves, Alejandro Simón y Jesús Bravo.
Mesa redonda con Rosa Medina Doménech, María José Belbel y Dolors Ribalta. Modera Noemí de Haro.
Mesa redonda con Kerman Calvo, Maite Irazábal, Ramón Linaza y Carmen Monzonís. Modera Alberto Berzosa.
Performance “40 años SON” del colectivo O.R.G.I.A
Mesa redonda con Javi Larrauri, Leticia Rojas, Mónica Redondo y Pablo Andrade. Moderada por Gracia Trujillo.
A brief report from CRUSEV Poland’s seminar featuring Joanna Mizielinska, Justyna Struzik and Agnieszka Krol from the “Families of Choice in Poland” research project
The second public seminar organized by the Polish CRUSEV team was held at the University of Warsaw on Wednesday, October 25. Our guests were Dr Joanna Mizielinska, Dr Justyna Struzik and Agnieszka Krol, researchers from the “Families of Choice in Poland” research project (2013-2016). They began with presenting a general overview of their sociological study which was centered around the contemporary reality of non-normative families living in Polish cities, before moving to address the specific issue of senior LGBT+ members and their outlook on queer life today and in the past. Some of the points that were raised during the seminar included the different approaches to (and evaluations of) coming-out as they were discussed by respondents aged 55+; the gendered differences in constructing autobiographical narratives; and the various strategies adopted by respondents in order to position themselves within both the wider LGBT+ community, as well as the entire Polish society. The meeting was attended by academics and students from the University of Warsaw and the University of Social Sciences and Humanities, as well as some participants of the research.
Report from CRUSEV Poland’s first public seminar, including remarks from Dr Blazej Warkocki
The first public seminar held by the Polish CRUSEV team was held at the University of Warsaw on Wednesday, September 27. Dr Blazej Warkocki, CRUSEV Researcher, offered remarks on preoccupation with the queer past in recent Polish literature. He argued that the tendency to investigate and narrate the past is evident in comparison with an earlier emphasis on representations of queer positionality here and now. In his lecture, Warkocki described the 1970s as a pre-political period, prior to all forms of organized queer activism. He gave examples of relatively unknown queer writers from the 1970s and the early 1980s, such as Grzegorz Musiol and Malgorzata Lavergne, and he discussed some popular films and novels that feature cross-dressing or include overt reference to queers. A lively discussion ensued, focusing especially on the real-socialist decades, including the Seventies. The meeting was attended by academics and students from the University of Warsaw, the University of Social Sciences and Humanities, and the Polish Academy of Sciences.
Photographs from the performance installation, held in Edinburgh, August 2017
All images by Bastien Pourtout.
In this essay commissioned with LUX, Crusev’s Glyn Davis addresses Derek Jarman’s use of the warehouse as a film-making space.
6 Sep 2017
In 1994, an episode of the BBC television documentary strand Arena focused on the queer English filmmaker Derek Jarman. It served as the premiere of Glitterbug, a compilation of Jarman’s Super-8 films, created in the 1970s and early 1980s.
Glitterbug was preceded by a brief contextualising introduction that included an interview with Jarman, in which he discussed the experience of making and screening his films in warehouse spaces in London in the 1970s: “It was a really amusing thing to do”, he said, “because everyone came to watch them. So I used to hold these parties, wonderful parties. And everyone would come. Nobody paid any attention to the films whatsoever. They were all there, they all brought cushions and lay on the floor. We showed a proper film – 16mm, something, you know, a proper feature film, and then we would end up with the Super 8.” This anecdote is often repeated, in slightly varied iterations, in histories of Jarman’s 1970s era – many of those repetitions admittedly authored by Jarman himself – recurring and sealing into lore a distinctive sense of a space and supportive queer group conducive to innovative creative practice.
Glyn Davis is Reader in Screen Studies at Edinburgh College of Art, University of Edinburgh. He is the Project Leader of the three-year HERA-funded ‘Cruising the 1970s: Unearthing Pre-HIV/AIDS Queer Sexual Cultures’ project. Recent publications include the co-edited Warhol in Ten Takes (BFI, 2013) and the co-authored Film Studies: A Global Introduction (Routledge, 2015), as well as contributions to the journals Aniki, Cinema Journal, MIRAJ, and Screen. Glyn is currently completing a book manuscript entitled The Exhausted Screen: Cinema, Boredom, Stasis.
Image: Derek Jarman at Bankside
What does it mean to see the action of cruising as a method for something that is not sexual? CRUSEV’s Fiona Anderson explores in her essay produced in collaboration with LUX
23 August 2017
sometimes I find myself wondering
if the castle is a castle at all
a place apart, or merely
the castle that every snail
must carry around till his death
Thom Gunn, ‘Jack Straw’s Castle’ (1975)
In Rosalind Nashashibi’s film Jack Straw’s Castle (2009), the performative staging crucial to the act of cruising in a public place is so central that it is the film’s primary subject. Indeed, there is little action beyond it. Bright daylight turns to dusk, birds sing, and leaves are rustled. People, mostly men, move in and out of the frame, some intentionally, others unwittingly. The film’s action moves from tracing the homoerotic labour of men looking for sex with other men in public to recording the manual labour required in the production of a film.
Men and women pass instructions between each other as they install a scaffold tower in the depths of the cruising ground of Hampstead Heath. There is a suggestive precarity to this work and to the scene that it sets up; as night falls, the crew replace the daylight with bright, yellow artificial lamps that face on to the scaffolding itself. They fake the glow that we, the viewers, know illuminated this wooded area at the beginning of the film and before the appearance of the crew. They resist the passage of time, from day to night, which seemed to be the film’s only obvious narrative action. We seem to be moving back in time as we move between staged fantasy and reality, looking for sex in this footage of a cruising site as much as we try and determine the narrative thrust of the film. We don’t find either.
Dr Fiona Anderson is Lecturer in Art History in the Fine Art department at Newcastle University. At the moment, she is completing a book on the art and gay cruising scenes on New York’s derelict waterfront in the years immediately preceding the HIV/AIDS epidemic, looking most closely at the work of David Wojnarowicz and Peter Hujar, and working on a new project on the culture and politics of the drug AZT. She’s the UK PI for CRUSEV Cruising the Seventies.
Image: Jack Straw’s Castle, Rosalind Nashashibi, 2009, Installation view at LUX, 2017.
Mark Siegal discusses artist’s memorialisations of Rainer Werner Fassbinder and Klappensex in the second essay commissioned in partnership with Lux
In 2008 the Swedish techno DJ and producer, Jesper Dahlbäck collaborated with Canadian DJ/producer, The Dove (aka Tiga Sontag) on the music project called Rainer Werner Bassfinder. Stills from Fassbinder’s Faustrecht der Freiheit (Fox and His Friends, 1975) adorned the record covers. In an interview in 2007, actor and Fassbinder’s former wife, Ingrid Caven was asked to recount the time when the two of them decided to get married. “Oh, it was really moving. He always went to the tearoom and afterwards we walked around the neighborhood. Then one evening we slept together.” 
Klappensex, tearoom sex or cottaging – call it what you will – was obviously a part of Fassbinder’s life and, as I will suggest here, a continuous presence in his films as well. And why shouldn’t it have been? Men have been having sex in public comfort stations since the first pissoirs were installed in Paris in the mid-19th century. But the indisputable fact of men seeking sex with other men in public toilets has long been a thorn in the side of a gay political movement and gay and lesbian organizations seeking social acceptance and political rights. Aside from its questionable legality, the promiscuous pursuit of sexual pleasure with a variety of nameless men in the seedy spaces of public toilets hasn’t seemed to jell with the ideals of a movement that privileges a proud assertion of sexual identity and the restriction of sexual acts to the privatized – preferably state certified – form of the couple. The operative strategy of the lesbian and gay liberation movements, in Germany as elsewhere, was coming out , a belief in the positive psychological, social and political effects of assuming and proudly asserting a public, visible identity as gay or lesbian. Facilitating this act of coming out was a narrative of leaving behind the spaces and practices thought to be associated with shame and compulsion, the spaces, which collected together, form the so-called closet. If we take Rosa von Praunheim’s seminal film Nicht der Homosexuelle ist pervers, sondern die Situation in der er lebt (It Is Not the Homosexual Who Is Perverse, But the Society in Which He Lives, 1971) as a reference, it would appear that the key physical space associated with the metaphorical closet was the public toilet.
Marc Siegel is currently Professor of Film Studies at the Freie Universität in Berlin and a Senior Researcher in the Research Training Program “Configurations of Film” at the Goethe University in Frankfurt am Main. He is the author of numerous articles in the areas of queer studies and experimental film. His book A Gossip of Images is forthcoming from Duke University Press.
Image: Cover of Rainer Werner Bassfinder LP (2008); Image from Fox and His Friends (Rainer Werner Fassbinder, 1975).
In the first of a series of essays commissioned in partnership with LUX, Aleksandra Gajowy discusses relations between the norms and homosexual desire in Misunderstanding, an unprecedented work from communist Poland
Et maintenant par la grâce de l’imaginaire, bon voyage!
– Guy Hocquenghem, Le Gay Voyage
Picture a scene: young sportsmen at the end of a running competition. Their muscles flexed in the last effort to make it to the finishing line. Then, the race complete, they let their bodies soften, relax. They stroll slowly off the track, shaking hands, chatting lazily. This is where Piotr Majdrowicz’s 1978 film, Nieporozumienie (Misunderstanding), begins.
This first scene itself wouldn’t, perhaps, be worthy of a particular attention. To a Polish viewer especially, it resembles an all-too-familiar format of the Polish Film Chronicle, a series of short propaganda documentaries shown before cinema screenings between 1944 and 1995, and often replayed by the public television today for entertainment. The videos, particularly pre-1989, portrayed prosperous daily life in communist Poland, as well as significant events, such as celebrations of national holidays or sporting events. The material was accompanied by a light-hearted commentary praising the quality of life under communism. At first glance, then, the scene described above could well be an outtake from a Chronicle, emphasising agility and commendable sporting spirit of Polish youth; and yet, a sense of confusion appears. The background music – a slow piano tune – seems ill-synchronised, disrupting the dynamism of the scene. Gradually, it transpires that the camera gaze fixates on one runner in particular, in a transition so subtle it only becomes evident on a close inspection. Then, we see a series of photographs of the same athlete, carefully handled by someone’s hands. A short shot of a melancholic young man’s face – presumably the photographer – is interrupted by the opening credits. What are we witnessing? What is the dynamic at play?
Aleksandra Gajowy is a PhD researcher in Art History at Newcastle University. Her doctoral project focuses on representations and ontology of queer body in performance and body art in Poland since the 1970s until present, with particular focus on censorship, Catholic Church, and HIV/AIDS narratives. Her research is funded by the Northern Bridge Doctoral Training Partnership, the Arts and Humanities Research Council. She has presented parts of this research at international annual conferences such as Association of Art Historians (Edinburgh, 2016; Loughborough, 2017) and College Art Association (New York, 2017). She will chair a session on queer spaces in visual arts at the Universities Art Association of Canada annual conference (Banff, 2017) and is currently working on a journal article which will be published in Art Margins later this year.
Image: Piotr Majdrowicz, Misunderstanding (1978). Film still.
Tuesday 8 August 2017
Basic Mountain, Edinburgh
A performance installation by Agnieszka Koscianska and Benny Nemerofsky Ramsay. In socialist Poland, sexologists who ran columns in youth magazines received thousands of letters…
A performance installation by Agnieszka Koscianska and Benny Nemerofsky Ramsay
Tuesday 8th August 2017
17:30 – 19:00
1 Hill St, Edinburgh EH2 3JP
In socialist Poland, sexologists who ran columns in youth magazines received thousands of letters: “I’m a lesbian”; “Homosexuality is the most horrible sexual perversion. I experienced it personally, and consider this my life’s tragedy…”; “I’m 20 years old and I’m afraid of the future because my body is developing as a woman, while my soul is developing as a man”. Readers asked for help: “I’m in trouble and I don’t know how to get out of it”; shared: “People who love differently can be happy!”; or called for action: “Ladies, if you feel that destiny has hurt you by making you love women, write!”. Sexologists not only printed these letters, but also empathized with the authors, and modified their scientific views in order to answer concerns of their queer readers. As a result, these patient-oriented sex columns were the space of dialogue, and up to the mid-1980s, the only mainstream forum where queer voices could be heard.
A selection of these letters, collected by visiting anthropologist and historian of sexuality Agnieszka Koscianska, serve as source material for a performance installation in which an ensemble of performers reviews, transcribes and reads aloud passages in Polish and English. The performance seeks to reveal the shifting, overlapping positions of queers in Poland struggling to define their identities, build communities and take control of their destinies, painting a portrait of the evolving sexual consciousness of the era.
W PRL seksuolodzy piszacy do prasy mlodziezowej dostawali tysiace listow: „Jestem lesbijka”; „Najpotworniejszym ze zboczen seksualnych jest homoseksualizm. Doswiadczam tego na wlasnej skorze, co uwazam za swoja zyciowa tragedie”. „Mam 20 lat i obawiam si? przyszlosci, poniewaz cialo moje rozwija sie w kierunku kobiecym, a dusza w meskim”. Czytelnicy prosili o pomoc: „Jestem w klopocie i nie wiem, jak z tego wybrnac”; zwierzali sie: „Ludzie kochajacy inaczej moga byc szczesliwi!”; wzywali innych do dzialania: „Dziewczyny, jezeli czujecie sie skrzywdzone przez los miloscia do kobiet, napiszcie!”. Seksuolodzy nie tylko publikowali te listy, lecz takze wczuwali sie w problemy autorow i rewidowali swoje poglady, by pomoc queerowym czytelnikom. W rezultacie te zorientowane na potrzeby pacjentow rubryki staly sie przestrzenia dialogu i do polowy lat 80. XX wieku jedynym miejscem w kulturze glownego nurtu, gdzie mozna bylo uslyszec glosy odmiencow.
Performance wyrasta z listow do seksuologa zebranych przez antropolozke i historyczke seksualnosci Agnieszke Koscianska. W jego trakcie grupa performerow przepisze odrecznie i odczyta na glos ich fragmenty po polsku i po angielsku. Akcja jest proba pokazania sytuacji seksualnych i plciowych odmiencow w socjalistycznej Polsce i ich walki o zdefiniowanie wlasnych tozsamosci, zbudowanie wspolnoty i przejecie kontroli nad swoim losem. Kresli tym samym portret ewoluujacej swiadomosci seksualnej epoki PRL.
Benny Nemerofsky Ramsay
Benny Nemerofsky Ramsay
Cruising the Seventies: Unearthing Pre-HIV/AIDS Queer Sexual Cultures
Agnieszka Koscianska’s research in Edinburgh is funded by the Royal Society of Edinburgh and the Caledonian Research Fund.
View documentation of the performance here.
Sunday 13 August 2017
This day workshop explores cruising as a method for tracing the queer past and surviving in the present and future, drawing on Fiona Anderson and Laura Guy’s research into pre-HIV/AIDS queer social and sexual cultures, regeneration, and community building in the 1970s.
One Day Workshop
Sunday 13 August 2017
11:00 – 17:00 BST
Dartmouth Park Hill
London N19 5JF
This day workshop explores cruising as a method for tracing the queer past and surviving in the present and future, drawing on Fiona Anderson and Laura Guy’s research into pre-HIV/AIDS queer social and sexual cultures, regeneration, and community building in the 1970s. Participants will be invited, collectively, to explore ways that queer archival material and artists’ moving image work might be cruised in turn in order to uncover forgotten histories and foreground queer communities in danger of being lost or obscured in the present. Through group discussion and film screenings, we will devise methods of sharing this material with each other through writing, performance, and site-specific activities.
This event is part of LUX’s summer long programme CRUISING GROUND. CRUISING GROUND brings together a range of perspectives and discourses on cruising. The programme engages with the 50th anniversary of the Sexual Offences Act 1967, which decriminalised private homosexual acts between two men over the age of twenty-one. A programme of screenings, workshops and events has been developed in collaboration with CRUSEV.
Please register for the workshop via EventBrite: https://www.eventbrite.co.uk/e/cruising-the-past-tickets-36480406879
Accessibility information will be posted here shortly.
The new book by Crusev’s Agnieszka Koscianska guides readers through developments in the field of sex education in Poland throughout the 20th century.
Crusev’s Agnieszka Koscianska has recently published Zobaczyc losia. Historia polskiej edukacji seksualnej od pierwszej lekcji do internetu / To See a Moose. The History of Polish Sex Education from the First Lesson to the Internet. The book is published by Czarne, based in Wolowiec, Poland. The blurb of the book in English is below.
This history of struggles against ignorance and double standards starts towards the end of the 19th century, when men learned sex from prostitutes, and when the prevalence of shameful diseases was an open secret. Koscianska guides readers through developments in the field of sex education throughout the 20th century. How did it come to be, that at the beginning of this new age storks suddenly ceased to deliver babies and stories about the birds and the bees no longer satisfied curious girls and boys? What does intercourse have to do with spotting moose? How was sex described in a school textbook scrapped by the communists for fear of offending religious sentiment? Finally, could folk songs convey more information than progressive self-help books? Among Koscianska’s protagonists are women and men who had the courage to change how sex was written about. Yet readers will be urged to keep their critical hats on in assessing the contributions of the cult figures of Polish sexology. This work is the first to critically examine Polish sex education in the 20th century.
The book contains an extensive chapter on changing attitudes towards homosexuality and transsexuality in Polish sex education, sexual counselling and sexology in the 20th century, with a special focus on the 1970s. In this chapter, the author draws on various sources to reconstruct those changes: interviews with sexologists, sexual educators, and LGBTQ persons who remember the 1970s, as well as letters sent to sexologists, sex columns in the popular press, and sex education manuals. She argues that the long 1970s were a crucial decade that set the stage for the development of LGBTQ politics and self-organization in the late 1980s and in the 1990s. By reconstructing the dialogue between sexologists and their patients/readers on sexual orientation and gender identity, the book shows the processes that contributed to the formation of today’s debate over LGBTQ rights, politics and identity.
26-27 June 2017
CentroCentro y Conde Duque, Madrid
Millions of perverses aims to make collective formulas of struggle again accessible, explores genealogies of certain transgressive approaches to sexuality and gender, and activates in our present the political uses of the memories of sexual radicality that time and his official narrations have blurred.
Lugar: CentroCentro y Conde Duque
Fechas: 26 y 27 de junio de 2017
El 26 de junio de 1977 las travestis, trans, bolleras y maricas organizadas salieron a la calle en Barcelona para pedir la derogación de la Ley de Peligrosidad y Rehabilitación Social. Reclamaban con su voz y sus cuerpos la libertad sexual secuestrada bajo el franquismo. Rambla abajo, ocuparon el espacio público con identidades y formas de vida que hasta ese momento solo habían podido expresarse en espacios marginales o privados. La manifestación (no autorizada) duró hasta que aparecieron los grises.
Podemos considerar esta manifestación un momento de condensación de los movimientos de liberación homosexual que venían articulándose desde hacía tiempo. Visibilizar hoy la discontinuidad entre las subjetividades de aquellas perversas y el marco en que se fue fraguando el pacto político y social durante la transición a la democracia nos permite, cuarenta años después, actualizar el potencial crítico de sus discursos y prácticas corporales y vitales.
Con el seminario Millones de perversas tratamos de invocar la memoria de esos sujetos y movimientos impugnando una narrativa hegemónica centrada en la supuesta conquista progresiva de derechos LGTBIQ. Las distintas sesiones de este seminario se plantean reactivar aquellas disruptivas políticas y poéticas.
POÉTICAS presta atención a lo que sucedía en lugares concretos – como la efervescente Barcelona postfranquista o los espacios expresivos lésbicos de los años setenta – en un intento de dar claves para entender las poéticas desplegadas desde el ámbito de las culturas sexuales radicales de aquella década.
REDES Y AFECTOS. ¿Qué redes de afecto tramaban la vida de trans, maricas y lesbianas en la España de los setenta? Esta sesión se plantea el modo de reelaborarlas desde el presente a través de relaciones intergeneracionales, procesos performativos e investigaciones situadas que problematizan las nociones convencionales de memoria y archivo.
MILITANCIAS trata sobre la pervivencia – muchas veces inconsciente – en las luchas sexo-disidentes actuales de las políticas de los años setenta. Esto se aborda en forma de diálogo entre activistas, especialistas y militantes historicxs y en activo.
En resumen, Millones de perversas pretende conseguir que sean de nuevo transitables fórmulas colectivas de lucha, explora genealogías de ciertos planteamientos transgresores sobre la sexualidad y el género, y activa en nuestro presente los usos políticos de las memorias de la radicalidad sexual que el tiempo y sus narraciones oficiales han difuminado.
Entrada libre hasta completar aforo
PROGRAMA. CentroCentro y Conde Duque
Lunes 26 de junio
PRESENTACIÓN. Conde Duque
12:00 h. Presentación
12:15 h. Visitas a las exposiciones Anarchivo sida y Archivo Queer
13:00 h. Laura Corcuera. Tensiones en un ángulo de 90º (performance)
POÉTICAS. CentroCentro. Auditorio Caja de Música
17:00 h. Barcelona y otras escenas. Mesa redonda con la participación de Luis Escribano, Rampova y Silvia Reyes
19:00 h. Poéticas lésbicas. Mesa redonda con la participación de Meri Torras, Elena Castro y Txus García
Martes 27 de junio
REDES DE AFECTOS. CentroCentro. Sala Sigfrido Martín Begué
10:00 h. Tres activaciones: Un secreto de tu abuela se enrarece entre tus mejillas, de Ana Pol y Mónica Almagro; Memorias escondidas, del colectivo Rodando pichi; El archivo de Emilio: “Deja de sufrir, estúpido”, de Marta Echaves, Alejandro Simón y Jesús Bravo
12:15 h. Descanso
12:45 h. Reflexiones en torno a los afectos lésbicos. Años 70, un debate abierto. Mesa redonda con Rosa Medina Doménech, María José Belbel y Dolors Ribalta.
MILITANCIAS. CentroCentro. Auditorio Caja de Música
17:00 h. Proyección de los cortos Abajo la ley de peligrosidad social (José R. Ahumada, 1977) y Manifestación per lAlliberament Sexual en el Pais Valencia (Miquel Alamar i Berenguer / Pedro Ortuño, 1979-2015). Presentación a cargo de José R. Ahumada.
17:30 h. Los activismos de los años 70. Mesa redonda con Kerman Calvo, Maite Irazábal, Ramón Linaza y Carmen Monzonís
19:00 h. 40 años SON, de O.R.G.I.A (performance)
19:30 h. Proyección de fragmentos de Testigos de un tiempo maldito (Javi Larrauri, 2012) y mesa redonda Los activismos hoy, con Javi Larrauri, Leticia Rojas, Mónica Redondo y Pablo Andrade
El seminario Millones de perversas forma parte de las actividades del Proyecto de Investigación Europeo Cruising the 1970s-CRUSEV (integrado por Alejandro Melero, Alberto Mira, Alberto Berzosa, Francisco Godoy, Gracia Trujillo, Jesús Carrillo, Josep-Anton Fernàndez, Juan Antonio Suárez, Juan Vicente Aliaga, Lucas Platero, María Rosón, Noemí de Haro García, Virginia Villaplana Ruiz)
An exhibition, curated by Juan Guardiola and Juan Suárez, of the LGBTQ audiovisual culture in Spain since the first demonstration in defence of the rights of gays and lesbians in September 1977 in Barcelona.
CENTROCENTRO CIBELES DE CULTURA Y CIUDADANÍA
Plaza de Cibeles, 1
23 Junio – 01 Octubre 2017/21st June – 1st October 2017
[Spanish, English translation follows]
Una revisión de la cultura audiovisual LGBTQ en España desde la primera manifestación en defensa de los derechos de gays y lesbianas en septiembre de 1977 en Barcelona, hito que marca el inicio de la militancia sexual en nuestro país, hasta el presente.
Nuestro deseo es una revolución muestra cómo diversas prácticas artísticas y discursivas gays, lésbicas y queer han combinado los lenguajes de las vanguardias artísticas y la iconografía y modos de hacer de las subculturas de la calle para politizar la representación del cuerpo y la sexualidad, para cuestionar el funcionamiento de las esferas pública y privada y para releer la historia hegemónica que invisibiliza a los sujetos marginales.
La vocación experimental y abiertamente política de la imagen queer ha quedado relativamente relegada en décadas recientes, tras los años álgidos de la crisis del SIDA, debido a la asimilación de la sexualidad gay-lésbica-queer a un nicho de mercado y al auge de reivindicaciones más orientadas a la gestión del ámbito privado (derecho al matrimonio entre personas del mismo sexo) que a la transformación colectiva de la sociedad, como pretendía gran parte del activismo de los años setenta y del movimiento queer posterior.
Frente a estas estrategias de normalización, esta exposición recuerda la tradición de experimentación formal ligada a la disidencia sexual en el arte, una experimentación motivada por la conciencia de que para dar cuenta de una revolución sexual y social sin precedentes, aún en marcha, había que reinventar los modos de crear y narrar, de articular imágenes y de utilizar los medios artísticos.
Artistas y colectivos presentes en la muestra:
Carlos Aires, Florencia Aliberti, Pedro Almodóvar y Fabio McNamara, Alexander Apóstol, Manu Arregui, Cecilia Barriga, Biel Capllonch, Tino Casal, Gabriel Casas, Eduardo Chicharro, Javier Codesal, Joan Colom, Fito Conesa, Xavier-Daniel, Diego del Pozo, Luis María Delgado, David Domingo, Lucía Egaña, Pepe Espaliú, Jacinto Esteva, Alex Francés, Carmela García, Miguel Ángel Gaüeca, Jean Genet, Coco Guzmán, Juan Hidalgo, William James, Jana Leo, LSD, Jesús Martínez Oliva, Marisa Maza, Pepe Miralles, Joan Morey, Nazario (Nazario Luque Vera), Ocaña, Pedro Ortuño Mengual, Alvaro Perdices, Pablo Pérez Mínguez, Guillermo Pérez Villalta, Ventura Pons, Gregorio Prieto, Rodrigo (Rodrigo Muñoz Ballester), José Romero Ahumada, Francesc Ruiz, Azucena Vieites, Virginia Villaplana Ruiz e Iván Zulueta.
Cabello/Carceller (Helena Cabello y Ana Carceller), Costus (Juan Carrero y Enrique Naya), Dias & Riedweg (Mauricio de Mello Dias y Walter Stephan Riedweg), Els 5 QK’s, Equipo Palomar (Mariokissme y R. Marcos Mota), Jeleton (María Angeles Alcántara y Jesús Arpal), Majo Post-Op, O.R.G.I.A (Beatriz Higón, Carmen Muriana y Tatiana Sentamans), Subtramas (Virginia Villaplana Ruiz, Diego del Pozo, Montse Romaní), Toy Tool Films, Video-Nou.
Comisariado: Juan Guardiola y Juan Antonio Suárez
Imagen: José Romero Ahumada. Abajo la ley de peligrosidad social. 1977. Cortesía de autor@, Barcelona.
A review of the LGBTQ audiovisual culture in Spain since the first demonstration in defense of the rights of gays and lesbians in September 1977 in Barcelona, ??a milestone that marks the beginning of the sexual militancy in our country, until the present.
Our desire is a revolution shows how various artistic practices and discursive gay, lesbian and queer have combined the languages of the artistic avant-garde and the iconography and ways of doing the subcultures of the street to politicize the representation of the body and sexuality, to question the functioning of the public and private spheres and to re-read the hegemonic history that makes the marginal subjects invisible.
The experimental and openly political vocation of the queer image has been relatively relegated in recent decades, following the peak years of the AIDS crisis, due to the assimilation of gay-lesbian-queer sexuality to a market niche and the rise of demands more oriented to the management of the private sphere (the right to same-sex marriage) than to the collective transformation of society desired by much of the activism of the 1970s and of the later queer movement.
Faced with these strategies of normalization, this exhibition recalls the tradition of formal experimentation linked to sexual dissidence in art, an experimentation motivated by the awareness that in order to account for an unprecedented sexual and social revolution, still in To reinvent the ways of creating and narrating, articulating images and using artistic means.
Artists and collectives present in the exhibition: Carlos Aires, Florencia Aliberti, Pedro Almodóvar y Fabio McNamara, Alexander Apóstol, Manu Arregui, Cecilia Barriga, Biel Capllonch, Tino Casal, Gabriel Casas, Eduardo Chicharro, Javier Codesal, Joan Colom, Fito Conesa, Xavier-Daniel, Diego del Pozo, Luis María Delgado, David Domingo, Lucía Egaña, Pepe Espaliú, Jacinto Esteva, Alex Francés, Carmela García, Miguel Ángel Gaüeca, Jean Genet, Coco Guzmán, Juan Hidalgo, William James, Jana Leo, LSD, Jesús Martínez Oliva, Marisa Maza, Pepe Miralles, Joan Morey, Nazario (Nazario Luque Vera), Ocaña, Pedro Ortuño Mengual, Alvaro Perdices, Pablo Pérez Mínguez, Guillermo Pérez Villalta, Ventura Pons, Gregorio Prieto, Rodrigo (Rodrigo Muñoz Ballester), José Romero Ahumada, Francesc Ruiz, Azucena Vieites, Virginia Villaplana Ruiz and Iván Zulueta.
Cabello/Carceller (Helena Cabello y Ana Carceller), Costus (Juan Carrero y Enrique Naya), Dias & Riedweg (Mauricio de Mello Dias y Walter Stephan Riedweg), Els 5 QK’s, Equipo Palomar (Mariokissme y R. Marcos Mota), Jeleton (María Angeles Alcántara y Jesús Arpal), Majo Post-Op, O.R.G.I.A (Beatriz Higón, Carmen Muriana y Tatiana Sentamans), Subtramas (Virginia Villaplana Ruiz, Diego del Pozo, Montse Romaní), Toy Tool Films, Video-Nou.
Commissariat: Juan Guardiola and Juan Suárez
Image: José Romero Ahumada. Under the law of social danger. 1977. Courtesy of author @, Barcelona.