pleasurehome: desiring queer space
January 6–April 30, 2022
Curated by Logan Williams
Welcome to the pleasurehome, an online exhibition responding to queer desire, prompted by Catherine Opie’s 1993 photograph Self-Portrait/Cutting. Carved on the artist’s back is a vision of home, made in a childish scrawl, illustrating two women, hand in hand, in front of a house, under a timid sun. Oscillating between desire and violence, the image establishes a politics of pleasure that guides the presentation of four new artworks, released in sequence over a four-month span. One by one, each artist thoughtfully weaves their own experience of queerness into various forms (video, photography, painting, and digital arts), resulting in a textured exploration of home. Beginning in January 2022, viewers will have the opportunity to view each work on a month-by-month basis through an accessible online portal, converging at the hearth of queer home through its many extensions and interpretations. We look forward to having you over.
In Greyson’s film, the sound of birdsong amidst the Zoom Room backdrop encapsulates the isolation of a year come and gone (and now again); as we trepidatiously return to real shared spaces, the film elicits the potential for affective experiences in the virtual world. The ‘jail bird’ (the isolation of the home office compared aptly to that of a prison cell) speaks across space and time to communicate to others, begging for an understanding of what is happening beyond their respective nests. The appearance of the body is questioned by these birds, curious and restless, as bodies enter in and out of the reconstituted frame. Queerness here rings through— temporary homes built out of necessity for belonging—to make sense of what is beyond the front door, longing for community. Watch the film here.
The praying mantis eats her partner after the act of making love, devouring the lustful encounter that gives life to a new generation. Interested in play and childhood, Vancouver-based artist Evan Sproat stages environments that encourage curiosity and play, highlighting the mechanistic extensions of gender conformity within the filmic frame of a staged scene. Experimenting with costume, sets, photography, and character-building, this work speaks to the dangers of pleasure made manifest in childhood bedrooms and playrooms. Working through his own experience of alienation from his community, Sproat injects his work with a palpable vulnerability that speaks to the desire for queer acceptance and a wrangling free from the binaristic system that separates us from them.
Thursday, April 7
The Mighty Jill-Off sets the scene for Chicago-based artist Shawné Michaelain Holloway’s work where the artist unpacks a video game in which she has always been fascinated. Set in a castle, the game begins with two women. The servant desires to kiss the boots of the Queen, but to do so, she must climb to the top of the castle through an array of trials and tribulations and win the prize before any such affection be shown. For the artist, this experience has the potential to reveal the queer experience of longing for something which can never be achieved. Within the infinity-loop of the video game world, of gaining more ‘lives’ after countless deaths, Holloway questions whether queer desire is ever really attainable. Weaving together this narrative with digital work, the exhibition will close with the same question in which it opens: how did you get home?