Contra la mirada, una llambregada proposa el desig, proposa el cos, . . . en la tenacitat de la seva activitat pràctica.
*img 1936 #AntoniCampañà Francesc Nel·lo pintant el tren antifeixista del sindicat de dibuixants #lacapsavermella
thanks for documenting us with your camera, Kay!
*img 1966 #KayTobinLahusen, Ernestine #ErnestineEckstein (Contact sheet #1)
On chante dans la cour de l'Est
Le silence éveille les hommes.
Silence coupé d'ombre et c'est
De fiers enculés que nous sommes.
—#JeanGenet, 1948 La parade / Poèmes
*vid 2019 #1vers2trop La parade (de Jean Genet) / 3…4…
The same, of course, is true for desire: as it is being recorded, archived, and documented, it is paradoxically (in the process of) being lost forever. We are left with an imperfect trace of what was once a unique, ephemeral instantiation of desire. Yet textual and affective traces remain;
Thus, the archive should be seen as a contact zone between past and present but also between temporally diverse and interconnected processes of documenting (bodies) and consuming (information). The archive itself reflects how historical contact zones necessarily involve sex—a central component of the “ongoing relations” between the colonizer and the colonized, mediated by race, class, and gender.
Contrary to myth, what one relishes in loving strangers is not mere anonymity, nor meaningless release. It is the pleasure of belonging to a sexual world, in which one's sexuality finds an answering resonance not just in one other, but in a world of others.
Autonomy requires more than civil liberty; it requires the circulation and accessibility of sexual knowledge, along with the public elaboration of a social world that can make less alienated relations possible.
The success or failure of militant anti-fascism often depends on whether it can mobilize broader society to confront fascists,
homo faggotries & undercommons—sodomies, Lo Gai Saber, espellar Mascle, i + —digging heritage—a visual essay (18+)—Recombination is also our task,
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