{"id":77719,"date":"2019-06-14T11:21:50","date_gmt":"2019-06-14T11:21:50","guid":{"rendered":"https:\/\/www.sleek-mag.com\/?p=77719"},"modified":"2019-06-25T12:18:15","modified_gmt":"2019-06-25T12:18:15","slug":"kiss-my-genders","status":"publish","type":"post","link":"https:\/\/www.sleek-mag.com\/de\/article\/kiss-my-genders\/","title":{"rendered":"How these cross-generational artists have challenged gender perceptions while celebrating fluidity"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":31,"featured_media":77735,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[11856,139],"tags":[5222,3023,13212,4460,13211,116,4977,2575,10848,7026,3028,12645,8672],"class_list":["post-77719","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sleek-art","category-art","tag-catherine-opie","tag-hayward-gallery","tag-jimmy-desana","tag-juliana-huxtable","tag-kiss-my-genders","tag-lgbt","tag-lgbtq","tag-martine-gutierrez","tag-peter-hujar","tag-queer-art","tag-southbank-centre","tag-vincent-honore","tag-zanele-muholi"],"acf":{"main_category":139,"legacy":false,"exclude_from_ads":[],"hero_title":"","subtitle":"As the group exhibition Kiss My Genders opens in London, we speak to curator Vincent Honor\u00e9 and the artists pushing the boundaries of gender representation today","hero":{"video":false,"image":false,"header_color":"black","overlay_color":"","overlay_text_color":"black"},"teasers":{"video":false,"image":{"ID":77735,"id":77735,"title":"DEL-LAGRACE-VOLCANO-Robyn-Cold-Store-Romance-London-1988-512x790","filename":"DEL-LAGRACE-VOLCANO-Robyn-Cold-Store-Romance-London-1988-512x790-1.jpg","filesize":107256,"url":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/06\/DEL-LAGRACE-VOLCANO-Robyn-Cold-Store-Romance-London-1988-512x790-1.jpg","link":"https:\/\/www.sleek-mag.com\/de\/article\/kiss-my-genders\/del-lagrace-volcano-robyn-cold-store-romance-london-1988-512x790\/","alt":"","author":"1","description":"","caption":"Del LaGrace Volcano, \nRobyn Cold Store Romance, London, 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This Pride month, and in a moment in which conservative bigotry and both misogynistic, homophobic, and transphobic vitriol and attacks have been rife, it feels crucial for London to be hosting a large-scale exhibition focused on challenging gender perceptions. Kiss My Genders<\/em><\/a>, a major new exhibition at the Hayward Gallery at London\u2019s Southbank Centre, hosts thirty international artists and over 100 works, celebrating a wide spectrum of gender fluidity, non-binary, trans, and intersex identities, spanning sculpture, drawing, painting, film, performance, and photography. Rather than relying on theory or academic concepts, the show argues in favour of a joyful and playful approach. Speaking to the curator Vincent Honor\u00e9, he explains, \u201cGender is something that you live, not something that you read. It\u2019s on the dancefloor, in fashion, everywhere.\u201d<\/p>\n

\u201cThe material comes from the artists themselves,\u201d Honor\u00e9 continues, pointing to the subjective nature of the exhibition. \u201cIt is their lives, their emotions, their art.\u201d This emphasis on empathy and conversation as one of the exhibition\u2019s strategies is also echoed by the roundtable discussion in the accompanying catalogue, published in lieu of a formal introduction. The performance artist, poet, and writer Travis Alabanza notes how they found the Hayward exhibition a welcome shift, \u201cI was just so done with these stale conversations about gender; [other institutions] would bring in these really exciting artists, but make their work seem more mundane or serious. That\u2019s what\u2019s been left out over these last two years \u2013 the playfulness that I and so many other trans, queer, gender non-binary artists have.\u201d For Ajamu, a photographer and activist whose practice has often invoked pornography as an artistic mode to reclaim agency and pleasure, \u201cthat playfulness or that mischievousness is no less political; although it is not seen as political, because people assume it\u2019s not doing that sociocultural work.\u201d<\/p>\n

Akin to a nightclub, the viewer is able to cruise across the gallery. There are no dead ends. This evocation of a domestic or subterranean space is enhanced by the design, which makes use of black and pink latex wall hangings, chiffon and satin curtains, mirrors, and repurposed palette crates. \u201cThe exhibition is not addressed to the masses,\u201d Honor\u00e9 says, \u201cwhen you enter, you can turn right, left, or go upstairs. It creates territories and areas of discoveries.\u201d Artworks also appear on the staircases, cover the outside of the building (notably American drag performer Joan Jett Blakk\u2019s 1992 presidential campaign poster representing the \u2018Queer Nation Party\u2019, which is fly-posted across the exterior walls), and installations from Athi-Patra Ruga and Ad Minoliti are situated off-site within the Southbank Centre. Intergenerational connections and conversations are also crucial to the politics of the show. In addition to showing contemporary artists like Victoria Sin, Juliana Huxtable, and Flo Brooks, Honor\u00e9 was keen to include artists like Pierre Molinier, Luciano Castelli, Peter Hujar, and Jimmy DeSana. \u201cNot to create a history but on the contrary to break that lineage,\u201d he explains, \u201cbut to show that the important concerns embraced by artists in the 1960s and 70s\u2014feminism, gay rights, and unconventional conceptions of masculinity\u2014paved the way for changes in how gender was socially perceived and is considered today.\u201d The disruption of chronology filters into the experience of the show as a spectator, addressed to the individual rather than the group.<\/p>\n"},{"acf_fc_layout":"images","gallery":[{"ID":77721,"id":77721,"title":"CATHERINE OPIE Mike and Sky (1993)","filename":"CATHERINE-OPIE-Mike-and-Sky-1993.jpg","filesize":609723,"url":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/06\/CATHERINE-OPIE-Mike-and-Sky-1993.jpg","link":"https:\/\/www.sleek-mag.com\/de\/article\/kiss-my-genders\/catherine-opie-mike-and-sky-1993\/","alt":"","author":"1","description":"","caption":"Catherine Opie, Mike and Sky (1993). 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Questions surrounding community, club culture, and queer spaces are embedded in the show. In her photographs from the 1990s, Catherie Opie subverted the tradition of Renaissance portraiture when representing members of the gay, lesbian, and sadomasochistic communities she was part of in San Francisco. During a similar period in London, artist Del LaGrace Volcano was involved in the formation of the city\u2019s first lesbian sex and performance club, Chain Reaction, in addition to being part of the emerging drag king scene. It\u2019s a \u201cvisual road map of euphoric, turn of the century queer London\u201d they write. Hannah Quinlan and Rosie Hastings\u2019 film Something for the Boys (2018) relates to this concept of a queer road map, but the tone is melancholic as opposed to euphoric. Filmed in Blackpool, at the cabaret club Funny Girls and men-only gay sex bar Growlr, their exploration offers a painful and elegiac enquiry into the future of LGBQT+ spaces, which are closing in great numbers across the country due to conservative austerity and the loss of public space. Their installation is one of other more directly political works, such as Hunter Reynolds Memorial Dress (1993), printed with the names of 25,000 individuals who died from AIDS-related illnesses, and Zanele Muholi\u2019s series Crime Scene (2012), an evocation of the violence suffered by the lesbian and transgender communities in South Africa.<\/p>\n

As the transgender, Latinx artist Martine Gutierrez writes, \u201cwe\u2019re living in an era where my existence is political whether I want to be or not.\u201d Her 2018 photographic series Masking and Demons explores identity as \u201calien and unfamiliar\u201d, assuming the guise of multiple deities as a way of examining cultural representation, in addition to exploring the modes in which the West have perpetuated certain stereotypes or clich\u00e9d iconographies. The monstrous, fantasy characters in Jenkin van Zyl\u2019s psychedelic horror film installation Looners (2019)\u2014a major new commission from the Hayward\u2014obliquely and physically revel in the destruction of stable identity and bodily categories. As the cinematic narrative unfolds, their hedonism and pleasure signifies the level of ecstasy that an abandonment of control might offer.<\/p>\n

If there is one key message to be taken from Kiss My Genders<\/em>, it is the right for the body to be subversive, mischievous, ambiguous, even illegible, demonstrating that an expansive and fluid approach is both political and truly liberating.<\/p>\n"},{"acf_fc_layout":"images","gallery":[{"ID":77722,"id":77722,"title":"MARTINE GUTIERREZ Masking, Fish Mask, from Indigenous Woman, 2018","filename":"MARTINE-GUTIERREZ-Masking-Fish-Mask-from-Indigenous-Woman-2018.jpg","filesize":494276,"url":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/06\/MARTINE-GUTIERREZ-Masking-Fish-Mask-from-Indigenous-Woman-2018.jpg","link":"https:\/\/www.sleek-mag.com\/de\/article\/kiss-my-genders\/martine-gutierrez-masking-fish-mask-from-indigenous-woman-2018\/","alt":"","author":"1","description":"","caption":"Martine Guttierrez, Masking, Fish Mask, from Indigenous Woman, 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Kiss My Genders<\/a>\u00a0runs through to 8 September 2019 at the Hayward Gallery, London.\u00a0<\/em><\/p>\n"}]},"yoast_head":"\nHow these cross-generational artists have challenged gender perceptions while celebrating fluidity How these cross-generational artists have challenged gender perceptions while celebrating fluidity<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sleek-mag.com\/de\/article\/kiss-my-genders\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"How these cross-generational artists have challenged gender perceptions while celebrating fluidity How these cross-generational artists have challenged gender perceptions while celebrating fluidity\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sleek-mag.com\/de\/article\/kiss-my-genders\/\" \/>\n<meta property=\"og:site_name\" content=\"Sleek Magazine\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/sleekmag\/\" \/>\n<meta property=\"article:published_time\" content=\"2019-06-14T11:21:50+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2019-06-25T12:18:15+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@sleekmag\" \/>\n<meta name=\"twitter:site\" content=\"@sleekmag\" \/>\n<meta name=\"twitter:label1\" content=\"Verfasst von\" \/>\n\t<meta name=\"twitter:data1\" content=\"Philomena Epps\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.sleek-mag.com\/#website\",\"url\":\"https:\/\/www.sleek-mag.com\/\",\"name\":\"Sleek Magazine\",\"description\":\"Sleek is Germany\u2019s leading independent media house\/brand for creativity and innovation located in Berlin the creative capital of the world. 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