Guest Post by Autumn Hays
Let us start off by acknowledging that there is a distinct difference between Queer and Transgender subjects. It’s important not to lump these two together. Though related and often overlapping, these are not interchangeable terms. Queer being a reclaimed pejorative for gay, and transgender being a person whose self-identity does not conform unambiguously to conventional notions of male or female gender. (see more.) With that in mind what I would like to look into a reoccurring concern in the discussions that take place around both queer and transgender performance art.
In the last month I have seen multiple panels touching on the subject of new Queer and or Transgender works. There was a definitive connection between all panels: and attempt to shake up current the definitions, and what some define as new codified zones of safety. When I say zones of safety, I am referring a kind of identity politics that sits safely in a form of expression that is confortable enough for new standards of acceptance. Artworks that sit in this comfort zone fail to realize the full potentiality of the subjects and often begging to forum it’s own predictable cliché. The challenging of the formulation of a tamed queerness or transgender performance is an often-highlighted theme appearing in new works. The formulation of a safely circumscribed zone undermines the attempt to reconsider the subject due to an inadequate scope.
Queer and or transgender arts panels often attempt to define the new wave of artists making work in these areas. Today many artists are attempting to define a new direction that departs from the identity work that came out the 80s and 90s. Often these earlier works are ascribed the quality of crying out for recognition. Much of the work being produced today is looking for finer definitions, as opposed to this preliminary awareness.
We could go on to talk about the subject of the word Queer as discussed during the roundtable “New Queer Aesthetics” in late October. Queer New York International Arts Festival (QNYI) had come to Chicago to exhibit a Queer Fest as an extension of the one in New York at Defibrillator Performance Art Gallery . The Chicago show featured artists Suka Off, Bruno Isakovic, Gabreiela Mureb, and Keijaun Thomas. Queer fest distinctly pulls itself away from other Queer festivals which they feel are accepted ideas of the term Queer. As one of the festivals curators, Zvonimir Dobrović, explained, the festival seeks to redefine and challenge preconceived notions of the term Queer. Not all work is made by the LGBT community and instead is defined loosely by a sort of norm-challenging ascetic. After struggling through various definitions, redefinitions, embracing, rejections, fears of washing out the word of meaning completely, and other post-modern linguistic dilemmas an audience member mentions queerness in regards to race, specifically the colored queer. Why is this important? Because the conversations began to progress from the semanticlogical, what is Queer, to what are current Queer issues are concerned about, who are we dealing with the queer female of color in art today.
This November I attended a panel at the School of the Art Institute of Chicago. Transgender / Arts : A roundtable on the future of transgender cultural production, which included panelists Trish Salah, Jules Rosskam, Julian Carter, David Getsy, and Micha Cárdenas. During the panel many valid points were made about Transgender art. Micha Cárdenas presented important question to the panel, “Where are the trans women of color in art?” Many of the panelist themselves who specialize in Transgender arts could in fact not think of a single artist. The panel began to discus a kind of film festival, performance and art transgender normative narrative. A washed down version, where you began to see something constrained, not quite all the way there. Sitting in a place somewhere in academia where it is comfortable and safe.
How does performance readjust and challenge Queer and Trans identity without losing site of the community in general? There is something that happens to us when we are about to fully realize the other; we find a way to compromise, to only go so far. Many Queer or Trans artist today are attempting to push at the boundaries of a newly accepted normative narrative and point at the things we are forgetting, those who still don’t have a voice. The Art world, the world, is still white male dominated. In a way the lull of sleep we put ourselves in this supposedly post-feminism, post-racism, post- sexism, post-gender issues world that we keep referring to as better than it was before is more dangerous. Because hiding under that comfort is the fact we haven’t changed all that much, we should be forging new grounds and making sure it doesn’t fall asleep.
If I was asked where the new queer or trans aesthetic is headed today, I would say somewhere within the struggle of continuous disturbance, in the understanding that things aren’t there yet and we have to keep shaking it up, shaking ourselves up, so we don’t become our own worse enemies, the perpetuators of a normative Queer of Trans identity. As performance art specifically keeps pushing on with another panel at the Hemispheric Institute for Performing Arts, this week discussing “Race & the Colonial Impulse: Queer Performance Practices”, I look forward t a continued discussion that bridges gaps in the dialogue between racial queer and transgender issues in the arts.
Autumn Hays is an Artist, Curator, Teacher and Writer. She graduated the School of the Art Institute of Chicago with an MFA in Performance where she received the John Quincy Adams Fellowship. She received her BA in Visual Arts at UCSD. Hays was the recipient of numerous scholarships, grants and awards including two major Jack Kent Cooke association scholarships.Currently she is assistant curator at Defibrillator and Directing Coordinator of the Rapid Pulse International Performance Art Festival. www.autumnhays.com
Performance by Delta Victor, Rojo Manso, Sara Holwerda and Sara Zalek. Presented by Spain Arts and Culture and Defibrillator.
Defibrillator is located at 1136 N. Milwaukee Ave. Performance Saturday & Sunday, 8-11pm.
Work by Thomas Ruff, Andreas Gursky, and Thomas Struth, Jeff Wall, Rodney Graham, and Stan Douglas, Cindy Sherman, Lorna Simpson, Ana Mendieta, James Welling, Wolfgang Tillmans, Torbjorn Rodland, and Elad Lassry.
Museum of Contemporary Art Chicago is located at 220 E. Chicago Ave. Exhibition runs from May 18 to Nov 10.
Work by Abelardo Morell.
Art Institute of Chicago is located at 111 S. Michigan Ave. Exhibition runs from June 1 to Sept 2.
Work by William Pope.L
Logan Center for the Arts is located at 915 E. 60th St.
Work by Alfonso Piloto Nieves.
33 Contemporary Gallery is located at 1029 W. 35th St. Reception Friday, 7-10pm.
So this is it; the last entry of Thoughts from Across the Cultural Divide. It’s appropriate that I’m writing it on a plane from New York to Milwaukee – that’s where I wrote my first one and most of the ones in-between.
I boarded bent on finishing before landing in Milwaukee as a kind of ceremonial gesture, but I came down with a bit of writer’s block. More like writer’s diarrhea, really; I couldn’t seem to reduce the last 26 entries into a succinct bite-sized wafer of truth fit to reflect what I’ve gleaned.
Fidgety, I reached into my pocket and pulled out a small piece of foil-covered hard candy and struggled over whether or not I should eat it.
I actually started unwrapping it, almost placing it on my tongue before rewrapping it and carefully putting it back in my pocket. The guy next to me must have thought I had a disorder. As I sat with the candy in my lapel pocket, I dwelled on this strange apprehension. Why did eating it feel so, well, unholy?
The candy in question was taken from a Felix Gonzalez Torres art piece, “Untitled (Portrait of Ross in L.A.)”, from the Art Institute of Chicago, where I had taken a class on a field trip a few days prior. With my class in tow, I picked a couple pieces off the top of the pile, eliciting a hushed gasp from some onlookers. The security guard stood by stoically knowing very well the nature of the situation. Only after establishing that he was cool with the move did the rest of the visitors take their turn grabbing souvenirs. Did anyone get the wonderful metaphor? Did the sacredness of the context turn Torres’s point into an object to be fetishized?
I explained the nature of the work to my students, how the dwindling supply of candy represented the fragility of existence and, specifically the disease that tragically took Torres’s partner’s life. They seemed moved, if still content to have a bit of insider material.
Only a week earlier I had gone to the Lutheran church in Cedarburg. I attended in spite of the fact that I’m not religious. My wife and her family have belonged to the church for years, and the pastor is surprisingly ecumenical. That day, when it came time to take communion, I hesitated. Somehow, watching from the back pews, faking my way through the Lord’s Prayer and mouthing hymns I didn’t know, seemed ok, but consuming a wafer and some wine that represented, or, depending on your level of devotion, actually WAS the body and blood of Christ, pushed it. But, still, I headed toward the altar.
His body tasted surprisingly bland; his blood vintage Franzia, and, though I didn’t feel the prescribed transubstantiation, I did feel something more profound than indigestion.
This unexpected twinge reminded me of a piece by James Gleick that was in the “New York Time Magazine” a few years ago about the auction value of the Magna Carta. He describes a passage from Philip K. Dick’s novel, “The Man in the High Tower”, where two similar cigarette lighters are placed side-by-side, one owned by FDR and the other of no significance. One with ‘historicity’, the other without.
The narrator muses:
“Can you feel it? … You can’t. You can’t tell which is which. There’s no ‘mystical plasmic presence,’ no ‘aura’ around it.”
Or is there?
Though he doesn’t invoke it specifically, Walter Benjamin’s “The Work of Art in the Age of Mechanical Reproduction,” seems to hover palpably over Gleick’s analysis. Are there plasmic presences? Are there auras? No and yes. As Benjamin noted in the essay we all choked down in art school, auras are born from artifacts that derive power from ritual. And rituals require gangs of believers to endure. And most of us, wherever we locate ourselves geographically or metaphysically, happen to believe in something strongly enough to wring a little plasma from it.
So, Religion? Culture? Not so different from 38,000 feet above the earth. Both are terms ascribed to all those things we can’t know for sure. And if you’re familiar with Descartes, Montesquieu, Wittgenstein, Barthes, Derrida or even CNN, there’s a LOT of things we don’t and indeed can’t know.
So what I’ve taken from 18 months of immersion in Wisconsin’s more parochial precincts is that one person’s “Light of Christ” might simply be another’s frisson of energy evoked by a Richard Tuttle wire piece or a Donald Judd “Specific Object”. Aren’t we all looking for a little transcendence, never mind where we get it or what we decide to call it?
There’s a lot of religion in a Tuttle and a lot of culture in a Lutheran pancake social.
It’s funny when you can feel the antagonism about your remarks as soon as you utter them. Now is one of those moments. My friends are generally from the tribe that would side with the transcendence brought on by a great work of art, rather than a passage from the “Book of Job”. Most of my acquaintances would probably claim that I’m making a false and probably dangerous distinction – the religious right influences politics, right? Indeed. They infringe on the civil rights of individuals because of a bunch of ghost stories in a book written millennia ago? Sure. They can’t compromise because their truth is not based in reason, but in the supernatural, right? Sometimes.
But then again, I felt something like sacrilege eating a piece of candy that was only ever meant to be a metaphor. And it occurred inside the hallowed temple walls of an institution that kind of chooses to keep those metaphors hidden, and in turn, keeps their congregations beguiled and charmed, perpetuating the aura of the object. That institution has priests who anoint objects with quasi-spiritual value. They have groups that help to canonize object makers. Not as metaphor-makers but as spirits. They have rituals, liturgies and taboos. They have saints and they have sinners. They all contribute to creating cultural relics that are sold at auction for prices that dwarf that of the most sought after religious relics on earth.
So if it walks like a duck…
Felix Gonzales Torres might be my favorite artist in the world. And God or god or Donald Judd rest his soul, I don’t think Mr. Torres ever wished for me to be spellbound by the aura of his art, only moved by the poetic truth it could impart by being an achingly wonderful metaphor for the sadness and confusion we all share in a world that overwhelms us.
So right now I will eat Felix Gonzalez Torres’s candy as a metaphorical gesture recognizing the power of art over the supernatural and all that mystical plasma that charms us into thinking we have an answer of a higher power.
28 episodes of The Cultural Divide reduced to one wafer of truth.
First things first kiddos, have y’all gotten in your Ox-Bow and ACRE applications? It was sixty degrees today! The summer is pending. Get in on that dreamy Michigan/Wisconsin landscape. (My apologies to the jury committee.)
Also, The Art Institute of Chicago is looking for a new Associate Photography Curator.
THE ART INSTITUTE IS OF CHICAGO IS LOOKING FOR A NEW ASSOCIATE PHOTOGRAPHY CURATOR.
That being said, they will probably hire within… but regardless, join the masses and apply!
Details for all below. As always, good luck!
Ox-Bow residency for MFA/Arts Faculty application time is coming to a close as April 5th keeps creeping up. Info Here
(psssst, if you’re a normal human who isn’t all up in that institutional drama, consider their Fall Artist Residency, which I will talk about a little later)
Associate Curator, Photography /// Art Institute of Chicago
At the direction of the Department Chair, is responsible for conceiving permanent collection and loan exhibitions; researching and proposing acquisitions for the collection; researching the collection and contributing to scholarly publications; working closely with donors, scholars, dealers, and artists; supervising volunteers and special project staff; and contributing to fundraising activities. Serves as coordinator or local curator for traveling exhibitions. Develops relationships with artists and galleries that can guide future exhibition projects. Conceives of appropriate programming and conducts gallery talks. Takes an active role in conceiving and preparing the biannual Photography Gala.
Must have a Master of Arts in Art History, preferably with a concentration in a photographic subject. Must have at least 3 years of experience with exhibition projects, preferably involving photographic objects and preferably living artists. Strong writing skills are highly recommended. Foreign language abilities are encouraged.
All info, including the online application submission, here via the AIC employee portal.
This week, we pull Duncan and Richard’s 2009 interview with Monica Bonvicini from the archives, conducted during Bonvicini’s exhibition Light Me Black at The Art Institute of Chicago.
“I think that perception goes through the body. I want people to come into the space not knowing how to walk, and get blinded by the work…I kept reading about Renzo Piano saying [the Modern Wing] is a temple of light. Walking around I see there are so many windows everywhere, but they’re all covered up. What is all that light for?” – Monica Bonvicini interviewed by Bad at Sports.