Edited by Henry Rogers
The authors in this publication have made significant contributions to the intersection between the fields of queer studies and art based practice in which the status of art is considered in an academic research context.
What readers will encounter are a number of thoughtful responses to the curious notion that there may well be some correspondence between the activities, activations and activism of both queer and art. Something I will playfully inscribe as qUeErArT – a pictorial neologism, an almost calligram – a circumstance perhaps in which our ways of engaging with art lead us to the experiencing of 'strange conundrums'. Conundrums that operate in different modes of communication, or so for the moment we may think. Cultural producers, such as Derek Jarman, Tobias Schneebaum and Frank O'Hara, are mobilised in the exploration of essence,identity construction and the aesthetic subject which leads to a conceptualisation of queer sorority and affective kinship in relationship to the work of Peter Hujar and Antony Hegarty of Antony and the Johnsons.
This leads us on to the emotionally complex, highly codified and unsettling world of Ranier Werner Fassbinder's film Querelle as a means of imagining a queer grammar. While the trajectory of the book is to explore some recent moves in queer studies that extend the work of queer beyond the realm of the sexualised identity the politics of Queer are rarely far from view. With a consideration of David Wojnarowicz's, banned film, A Fire in My Belly, the politics of censorship and art as animal excess are eloquently discussed. In a philosophical move the conceptualisation of a queer parrhesia explores the importance of the carnal-knowledge practice of the body that Socrates so carefully neglects which takes us finally to the practice of un-writing, to those we turn to – for example – Roland Barthes and Sarah Ahmed – when love takes over and the words we love leave love itself unrequited.
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