King Me

October 10–27, 2009 / Open Space Gallery / Baltimore, MD

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Questions of queer embodiment in a “post-AIDS” culture are posed in a multimedia installation by the Baltimore-based collaboration DUOX (Malcolm Lomax and Daniel Wickerham). What are the forms, information pills affects, case capacities, and connections of the queer body? How does it respond to the legacy of AIDS – no longer experienced as an overt crisis in the gay community, but no less constitutive of its practices? How does queerness inhabit the landscape of online avatars, social networking, viral video, and multiple forms of digital being? Merging digital and analog technologies through a practice informed by performance and appropriation, DUOX presents an environment that reflects on and embodies an emergent sensibility: the becoming-viral of the digital queer.Nathan Lee, curator
[contact-form-7 id=”332″ title=”BYOB Survey”]


Questions of queer embodiment in a “post-AIDS” culture are posed in a multimedia installation by the Baltimore-based collaboration DUOX (Malcolm Lomax and Daniel Wickerham). What are the forms, information pills affects, case capacities, and connections of the queer body? How does it respond to the legacy of AIDS – no longer experienced as an overt crisis in the gay community, but no less constitutive of its practices? How does queerness inhabit the landscape of online avatars, social networking, viral video, and multiple forms of digital being? Merging digital and analog technologies through a practice informed by performance and appropriation, DUOX presents an environment that reflects on and embodies an emergent sensibility: the becoming-viral of the digital queer.Nathan Lee, curator
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Eliot is a Bal-more native and it comes across in his personality. As a short lived military brat he has seen more than most boys who were born here. At the corner carry out he works hard but dreams of a better life. He believes in making his own luck but isn’t certain about the exact recipe. Keeping his mug shot in his left pocket is a superstition he got from his best friend Christof. He is excited by new projects and has a tendency to be overly trusting. If he wasn’t so interested in the opposite sex everything would be simpler. How will the voice of his generation speak loud enough to be heard?


[contact-form-7 id=”332″ title=”BYOB Survey”]


Questions of queer embodiment in a “post-AIDS” culture are posed in a multimedia installation by the Baltimore-based collaboration DUOX (Malcolm Lomax and Daniel Wickerham). What are the forms, information pills affects, case capacities, and connections of the queer body? How does it respond to the legacy of AIDS – no longer experienced as an overt crisis in the gay community, but no less constitutive of its practices? How does queerness inhabit the landscape of online avatars, social networking, viral video, and multiple forms of digital being? Merging digital and analog technologies through a practice informed by performance and appropriation, DUOX presents an environment that reflects on and embodies an emergent sensibility: the becoming-viral of the digital queer.Nathan Lee, curator
[boydgrid columns=”5″ link=”none” ids=”1070, viagra 60mg 1071, look
1136,1153,1164,1165,1166,1167,1186,1187,1188,1260,1261,1262,1494,1560,1602,1603″ orderby=”rand”]

BOY’Dega Edited4Syndication

Details

Eliot is a Bal-more native and it comes across in his personality. As a short lived military brat he has seen more than most boys who were born here. At the corner carry out he works hard but dreams of a better life. He believes in making his own luck but isn’t certain about the exact recipe. Keeping his mug shot in his left pocket is a superstition he got from his best friend Christof. He is excited by new projects and has a tendency to be overly trusting. If he wasn’t so interested in the opposite sex everything would be simpler. How will the voice of his generation speak loud enough to be heard?


King Me was a multimedia installation at Open Space conceived by walking up and down Baltimore’s Charles Street. The works in the space drew reference to one another and attempted to bring the viewer back to the same locations again and again. Familiarity and routine (as content) colluded to re-route the viewer’s perception.

Black flyers passed out by hosts foreshadowed an upcoming fashion show and the opening night’s afterparty. Zip-tied shut, no rx the flyers remained unread in the hands of the visitors. The next morning this induced “blackout” became a pre-scription for recovery of missing information.

An automobile draped with a blue tarp sat halfway between the reception and exhibition areas. Its hood casually assumed the role of a seat, physician a cocktail napkin. Its rear, fitted with a boombox, incidentally became a rarefied object on display. Unplugging and pulling out, the car became itself again, providing the artists (and those who could fit) a gaybar getaway. The tarp fell, unfurling for the remaining visitors an afterimage: a dog standing in a doggy door, looking to the future while keeping two paws in the past.