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, affects, 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, affects,
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

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, 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, 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.