Fluc: IN DER KUBATUR DES KABINETTS - der Kunstsalon zeigt

Queer body against_____________

curated by #FFBF00
(Victoria Dejaco + Julia Frank)

Social networks and the increased online visibility of marginalized groups, their issues, conflicts and concerns in recent years, have also increased the radical opposition of a conservative, homophobic, racist response. It could be a final surge of global, white, patriarchal power structures, but it could also take generations before equality and tolerance, a responsibility for society and liberal values prevail.
The struggle for a more just society is a daily task and must permeate all areas of our lives and the everyday. In this sense "Queer body against _______" is a celebration of the progressive, the future, tolerance. All minorities together, are the majority. By "queer body" we understand therefore not only the individual body, but also the social body of people who identify as queer. Global capitalism needs new practices around gender and sexuality, since it has biopolitically occupied the body and sexuality since modernity.
Intersectional feminism stands for equal conditions and opportunities for all, against all forms of exploitation under capitalism and alternative ways of coming together.

Victoria Dejaco and Julia Frank are a couple and a curatorial collective.






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Cibelle Cavalli Bastos

*1978 in São Paulo, Brazil
Lives and works between London, Berlin and São Paulo

a” “not” “I” per-form, 2018
3:27min, (looped)

Since graduating from London's Royal College of Art, Cibelle Cavalli Bastos has released four music albums and has performed* or hosted* works at the Museo Reina Sofia Madrid, New York's Carnegie Hall, Art Basel Miami, Serpentine Marathon, and the 28th and 31st São Paulo Biennale, among others. Cibelle Cavalli Bastos' expanded conceptual scope and interdisciplinary practice includes performance, sound art, objects and installations. Currently, stories are published daily under the name @aevtarperform, intra-political theories are explored and nanopolitical, disintegrating strategies are developed by de-programming the self/identity of social malware on the personal and collective level. The work looks for trigger mechanisms and deals with the deconstruction and formation of identities and what stands between the self and presence when our multiple selves interact with each other and with our environment.

Berliner Festspiele, 2018

Vera Comploj

*1983, Bolzano, Italy
lives and works in New York City

In between, 2013
video (loop)

In between, 2013
300 x 200 cm

Vera Comploj started her career as an Art and Fashion photographer after studying Visual Arts, Product Design and Photography in Bolzano and Milan, Italy. Vera has lived and worked in Milan, London, Paris and New York City – where she currently resides. Vogue US selected her as one of the 10 finalists of the New Exposure competition. Her series of photographs, Persona, was exhibited at Milk Gallery, in New York City. The same year, Vera’s work was also displayed at the Be Hospitable group show, part of the Liverpool Biennial, in Great Britain. Her first solo show, In Between, was exhibited at Museion, Bolzano, Italy. In Between has also been presented during La Storia in Piazza festival at Palazzo Ducale and at the Contemporary Art Museum Villa Croce, in Genova. At present Vera collaborates as a photographer and filmmaker with luxury and fashion brands such as Elizabeth Arden, David Yurman, Longchamp, Vogue Germany, Rhié.

Now "In Between“ is also presented within Queer body against_______. It is a backstage photographic and video project, intended as a space between reality and fiction, in which the Drag Queens of New York, Washington and San Francisco prepare themselves before going on stage. On display is a video and shots, strictly on film, taken by the artist in three years of research in clubs or bars of those cities.
Museion, 2013.


photo by Lena Rosa Händle

Lena Rosa Händle

(* 1978 Berlin),
Lives and works in Vienna

I (We) Feel Seen, 2018
Fem Appeal, Eva Kollisch & Naomi Replansky, Linda LaBeija, Brittney Maldonado and Nia & Ness
498 x 280 cm

In the current political climate in which cis-male camaraderie is gaining power, the project I (We) Feel Seen explores the in/visibility and diversity of queer-feminist artists. The series of analog portrait photographs are testimonies of dialog-based encounters at Lena Rosa Händle’s Residency Studio in New York City back in 2018.  During her residency, the artist and the protagonists made a point in taking time, seeing, listening and engaging in order to initiate a process of learning, appreciation and (temporary) community.

The photographic works are accompanied with texts by the protagonists placed under each portrait. An additional text by Lena Rosa Händle shares observations, feelings and comments on the encounters.

Through these two layers of text, views are expanded, levels of social inequality made visible, as well as questions raised about the portraits itself. 

From 2013 until 2017 she was university assistant at the Academy of Fine Arts Vienna. Her artist book Laughing Inverts(2015, Kehrer Verlag) was nominated for the German Photo Book Award (2016). She is distinguished with several residencies, scholarships and fundings and her work is part of Public Art Collections and Museums.

Please visit: http://lenarosahaendle.de/works/ for the complete visual and text based documentation of I (We) Feel Seen, 2018.

photos by Lena Rosa Händle

Daniel Moldoveanu

*1999 Constanta, Romania
lives and works in Vienna and Berlin

Harness, 2019
acrylic, correction pen, white marker and UV print on canvas
100 x 130 cm

Daniel Moldoveanu is a Romanian artist based between Vienna and Berlin. His practice focuses primarily on painting, while also experimenting with video, mixed media and photography. His paintings often mediate historical motifs and address cultural, political and social co-existencies. Among other venues, they were shown at the Vienna Art Institute and the 21er Belvedere.

Harness (2019) is an attempt to anthropomorphize the finished painting by ironically giving its four edged surface a corporeality. The signifier, in this case a digital UV-print of a sexual object often connotated with fetishizations and re-appropriations of war culture and constructed ideals of masculinity, playfully dresses the wall-tapestry-like surface in an undermining act of relating a complex array of motifs and subjects to a single reductive topic. Presented here is the symbol of sexual deviancy (or rather kink) which does not objectify a subject body by signifying its queerness, but rather a network of genealogies, in allowing metaphorical interpretations.