At the opening for Next Generation Art Exhibit, curated by Yuna Bae for the Foundation of Asian American Independent Media, now on view at the Gene Siskel Film Center. Come see a new arrangement of my piece Camouflage as a metaphor for Passing: Mimesis II (Camouflage Mirrors)! (at Gene Siskel Film Center)
Ruby Rhod is one of my favorite characters in sci-fi ever because he is Luc Besson’s vision of the hetero sex symbol of the future: a flamboyant, emotionally labile man who wears skin-tight leopard print or decks himself in roses, a man who accessorizes with big jewelry and dabbles in cosmetics. And the ladies love him. Everything about him screams “gay” according to our stereotypes, but he’s portrayed as a 100% straight sexual dynamo.
Besson is one of the few directors I’ve seen who actually recognizes that our ideas of sexuality and gender performance might have changed drastically in the future.
Maïmouna Patrizia Guerresi
As a photographer, sculptor, and installation artist, ‘Maïmouna’ Patrizia Guerresi reveals unique and authentic sensibilities in her narration of the beauty and subtleties of racial diversity and multiculturalism. Over an established career, she has developed her own symbolism, which combines cosmological and ancestral traditions belonging to various European, African, and Asian cultures. Her personal commitment to Baifall Sufism has led her to produce an aesthetic that is able to bridge time, space and civilisations, as well as figuration and abstraction.
The human body is seen as the nucleus and temple of the soul, a place that houses a delicate, higher awareness; the very conduit for encompassing natural and cosmic forces. More about mysticism than any singular religion, her work is visionary in that it restores those elusive qualities of sacredness and unity in our frequently dehumanising and fragmented contemporary visual world. Her classic iconographic style explores the universality of human experience and reclaims the often hidden nurturing powers of feminine energy. Presented as a kind of free flowing epic, the viewer is left to read the significance of her imagery and quietly meditate on its potential to personally engage with its audience. As if her figures were speaking directly to each one of us.
From her earliest experiments with the physicality and archetypal imprinting of the psyche, through to her latest, evermore metaphoric ‘inner constellations’, Maïmouna insists on a cross-cultural discourse and an expansion of the boundaries that normally dictate our individual attitudes. She invites us to see further and to look deeper – past skin colour, preconceptions, and ethnic landscapes – into the wider paradigm of inclusion. She leads us through apparently simple notions of dimensionality into the exquisite, mystical and fragile complexities of life from within. - Rosa Maria Falvo,
This legit makes me want to cry because I have *never* seen a picture of an older trans man naked. It’s always young guys, usually much younger than me. It’s like we don’t have a future, an adulthood, a middle age, an old age. It’s like we just stop.
As a trans man who’s well past the age (and transition status) of ~sexxay tranz boiz~, pictures like this give me some kind of hope. We’re not just one image stuck in time, snapshot of a skinny white andro urban-queer young trans dude with perfect top surgery scars, poster boys for young radical queerdom. We’re not all Youth. We live in more than two dimensions, and one of them is time.
Older queers tend to fall off the map full stop. Trans people, even more so. But we don’t disappear once we stop being, basically, fashionable. Supporting our young people is important, but we need to show them we have a future, too.
I literally cannot envision my own future. There are no images of older men like me.
One image obviously can’t address all the lacks in representation, much less one image of a hot skinny (apparently?) white man. But just to have that one extra factor in there, of age, it’s - it’s important.
my feelings exactly.
Reblogging for legit ass commentary.
So, I paint my nails pretty regularly these days. I also work as a barista/cashier pretty regularly these days. A few weeks back, I had a customer come in, a fairly typical, sheltered, suburban soccer mom, and she ordered a latte from me. She saw my brightly colored nails and said, “Wow, you’re so brave! My son asked me about painting his nails, and if it’s okay for boys to do that. Now I’ll tell him there’s a cool guy who does it too!” It was a nice moment, very cute.
Then, last week, she came in again, and said, “Hey, I’m so glad you’re here! I want you to meet someone!” She then brings her son forward, and says, “Okay sweetie, show him what you did!” And he throws his hands up, showing off his bright, sparkling blue nails. He shows them off, and I show mine off to him. He smiles. We fist bump.
Guys, I’ve only wanted to cry once at work before, and that was when someone ordered a large dry soy cappuccino on ice.
This time, though. This was a good cry.
Salonathon presents Lexica
Hosted & Curated by Joe Varisco
April 29, 2013
Tien Tran and Philip Markle
Blue Redder feat. [X]P
Tim’m West and Ocean
Kiam Marcelo Junio, in a surprise performance!
Those who call themselves allies are responsible for understanding the contexts in which they speak; they are responsible for recognizing the structures of power from which they derive their privileges. And if this all sounds like too much to ask, then, perhaps, they should reconsider their claims to social justice work.
As Audre Lorde notes in the The Uses of Anger, genuine desire to build with those at the margins requires abandoning defensiveness, guilt, and self-interest. While women fight for the right to exist in a world free of constant mental and physical attacks, our allies cry about their hurt feelings and threatened masculinities.
The Islamic group Hamas runs the Gaza Strip and controls the police force. A number of young men say police plucked them from the street and shaved their heads recently, apparently because the officers didn’t approve of their hairstyles.
Photo: Emily Harris/NPR