Following the exhibition LOVE at Lab 155, Bologna that featured artworks developed through research on the relationship between queer sexual practices and the experience of a domestic space of a home, I was invited to present my research at Glasgow School of Art focusing on the context of a performance piece Love Manifesto. This piece explores the possibilities of queer matters as emerging from artistic research, which enable radical notions of practices of interruption, diffraction and wearing. First is the Crisco Method, as emerged through the reading of the description of a 70’s gay fisting club by Gayle R. Rubin in her text The Catacombs: A Temple of the Butthole (2011). Crisco Method refers to the sexual, and pleasure-driven way of bringing things into contact, by sliding into a slippery encounter that could not or should not be possible, to begin with. The second instance, a Faggot Matter deals with the form of an encounter (Johnny Golding, Friendship, 2018 and Elizabeth Freeman, Time Binds – Queer Temporalities, Queer Histories, 2010) that challenge bodies to renegotiate themselves in relation to the practice of the self (Michel Foucault, Society Must Be Defended, 1976). Third – palimpsestuousness; a queer entanglement of sorts that emerged from the reading of Karen Barad’s concept of intra-actions and diffraction (2015) and proposes a form of weird multiplicity; a belonging-together-apart, that cannot be subjected to the normative forms of forming sense by processes of revealing and confessing.
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