Love Manifesto: embodying disorientation through erotohisoriography
- Submitting institution
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Birmingham City University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 32Z_OP_T1002
- Type
- T - Other
- DOI
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- Location
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- Brief description of type
- A installation and performance piece formed the basis of a solo exhibition and part of the international conference
- Open access status
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- Month
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- Year
- 2019
- URL
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https://www.researchcatalogue.net/view/1080342/1080343
- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
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- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- In her book <Time Binds: Queer Temporalities, Queer Histories> Elizabeth Freeman (2010) recognises the erotic body as a method to speak about non-normative experience of chronopolitics for queer identities. The researcher borrows Freeman’s method of erotohistoriography, and applies it in practice-led fine art research in order to materialise pleasurable nooks of time and to create experiences of disorientating interruptions. The work seeks to disjoint the dominant narrative of pain and trauma in discourses on LGBTQI+ identities.
The researcher does this by focusing on materialising the experience of melancholy that emerges from the loss of spaces that served and cared for gay erotic practices. The installation titled ‘Love’ (2019) uses a combination of works that reflect on the migration of these spaces from the partially public sphere into the pre-dominantly private. The works use phallic imaginary embedding it with the domestic materialities and practices: plates, egg cups, tablecloths and hand-towels that are painted, embroidered ironed and displayed. Accompanying the installation is a performance piece comprised: reading out aloud the ‘Love Manifesto’ (Ceglarz, 2019); a love letter addressed to ‘My Dear Old Faggots’; and phallic shaped glitter pieces thrown sporadically into the air from a coffee cup with the word ‘Cocksucker’ painted on it. To enhance this experience, the researcher also uses the poetry of Jean Genet in his pieces, attenuating the non-chrononormative melancholy that allows the ‘collapse of past and future into an immediate intensity’ (Johnny Golding, 2013).
The installation and performance piece formed the basis of a solo exhibition in the international artist-run space, Lab155, Bologna (2019), and were part of the international conference ‘Un-tie the Knot: Redefining normativity in Love’ (2019) part of ORGAN VITA arts festival in Croatia held in the Museum of Nicola Tesla, Zagreb.
- Author contribution statement
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- Non-English
- No
- English abstract
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