Taking on New Queer Aesthetics
presented as part of
Videos From The Action Space


The Nightingale Cinema, 1084 N. Milwaukee
September 22nd, 2012

This screening features work from the exhibition, The Great Refusal: Taking on New Queer Aesthetics, currently on view in The Sullivan Galleries at The School of the Art Institute of Chicago. Curated by Photography faculty Oliverio Rodriguez in collaboration with current SAIC undergraduates and recent alumni: Jordan Avery, Beatriz Aquino, Shandi Hass, Kiam-Marcelo Junio, Nicole Ricket, Jackie Rivas, Hannah Rodriguez, Ali Scott, Jannah Tate, Dana West, Sky White, and Nikki Woloshyn, the show interrogates and explores the concept of queerness in this cultural moment through the work of over 50 contemporary artists. It will include a series of performances, film screenings, and panel discussions held at the Sullivan Galleries, as well as at cultural organizations throughout the city.

Historically, reclaiming has been an active verb for marginalized groups. Taking back language that is oriented from a pejorative word to one of agency is a contemporary political dialogue. The Great Refusal: Taking on New Queer Aesthetics is an active conceptual art representation through such categories as Misuse and Dislocation, Progressive Rituals, Bad Values and Restraint and Indulgence. These categories follow the historical transformation of queer from the negative into the positive. These categories invest and intersect through race, gender, class, sexuality, the investigation of power structures, institutional critique, camp, ritualistic routines and desire. Welcome to the reclamation of queerness, a contemporary response and dialogue situated within the historical.

Program Details
The Divided Line in the Form of a Square (the practice of memory) by Charlie Schneider (2011/12, 4:14 min, .mov)
Synopsis summarizes and compiles imagery produced during the original installation and performance of my memorial sailing project, The Divided Line in the Form of a Square (the practice of memory). The work was included in the public exhibition Sculpture by the Sea, Bondi, in Sydney, Australia, in November 2011. During the 18-day exhibition I made ten attempts at sailing a perfect square course, using only a compass for navigational assistance. The resulting shapes demark the divide between the ideal and the possible; they are the unique products of wind, weather, water, and human reckoning.

Fun with Funerals by Alyssa Chappe (2012, 4:53 min, .mov)
This video marks the end of my childhood. In the video, I ask unsuspecting strangers to speak at my toy’s funeral as an attempt to connect with real people. This toy, Ringo, developed alongside me. I molded him, painted him, I kept him an utter secret from everyone, and I just wanted others to acknowledge (albeit unwittingly) his life and death and removal from my world.

Chinaman’s Suitcase by Miao Jiaxin (2012, 6:20 min, .mov)
Bring hanging ducks to Zuccotti park, spray them colorful, hang them back in Chinatown.

Collaboration #1(excerpt) by Janet Lin & Miao Jiaxin (2010, 1:57, .mov)
The Collaborations are excerpts from a series of live webcam performances, presented here as commercial interruptions.

A Conversation with My Father by Shandi Hass (2012, 3:42 min, .mov)
A split-screen conversation.

Talia Shepherd by Jannah Tate (2012, 3:17 min, .mov)
Inspired by the evolution of live peep shows to web-based “cam shows,” “Talia Shephard” and “you are amazingly beautiful…” are an examination of the power that exists in looking versus that of being seen, in the digital age.

Collaboration #4 (excerpt) by Janet Lin & Miao Jiaxin (2010, 0:52, .mov)

You are amazingly beautiful… by Jannah Tate (2012, 00:54, .mov)

“Apples” (mono-) by Clare Vernon (2012, 5:42 min, .mov)
“Apples” is a piece from a series of five performances called ‘mono-‘, based on a psychological study of the discernment of boundaries in twin relationships: “(two) separate”, “(two) as if one,” and “(either or) only one.” In the work, I aim to combine the personal and intimate experience of my relationship with my sister with an implication toward the violence and force of nature.

Collaboration #5a (excerpt) by Janet Lin & Miao Jiaxin (2010, 1:32, .mov)

Orchidhead (Floraphilia) by Margaret Bobo Dancy (2010, 5:48, .mov)
My pornos focus on the performance of transforming objects through an ecstatic feminine sexual gaze. I desire to provoke my audience’s intellect and their physicality in order to blur the pulp line between high art and pornography.

Bathroom by Janet Lin (collaboration w/ Cheng-Yung Kuo) (2011, 2:20, .mov)
Tears and a disembodied voice.

Dutch Chicago by Justus Harris (2011, 9:15 min, .mov)
Dutch Chicago is a memorial to my late Uncle, screenwriter Murray Salem. Through the use of one of his unpublished screenplays I imagine Murray’s life, in particular focusing on a character named Dutch and his relationship with a 1960’s mustang convertible. In my adaptation the mustang represents my Uncle’s vitality and mortality, the story itself becomes a place to explore a life I no longer have access to.

Untitled (Stanley, My Second Lover) by Rami George (2012, 8:12 min, .mov)
How do we engage our collective history? Our queer history? A history marked with repression and loss, as well as undoubted beauty. I hope that by weaving narratives, by weaving the historical, social, political, personal, sexual, and fictional, that we can access something. Something not entirely sure of, or concrete, but something.

HERMAPHRODITE [an hypothesis] by Elise Goldstein & Nicolas Yazgi (2012, 11:14 min, .mov)
This frame speculates that sentient beings could be perceived as experiencing the world, knowingly or not, as hermaphrodites in a constant process of entering and being entered, moving and being moved.

Collaboration #5b by Janet Lin & Miao Jiaxin (2010, 4:24, .mov)

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