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In the Black Fantastic at the Hayward gallery was very good - playful and political, with lots of variety.

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Also fond of this tentacle erotica version of the Annunciation, imagined by Chris Ofili as “a carnal tryst between powerful supernatural beings”:

Ex-spouse was struck by what a difference context made to the exhibition and thought all the works would have been much less impactful displayed as classic single-artist shows in a white box gallery. Which is absolutely right, and makes me think the political uses of “neutrality” also extend to aesthetics

And I was struck by how 1990s the two queer artists’ work was. Not necessarily a bad thing, but it makes me wonder if 90s genderfuck is a safe choice for the art world - transgressive, but in a very conceptual way that “challenges” without changing anything

(Or I might just still be salty about Kate Bornstein’s awful Gender Workbook and the self-centred artists in Trap Door who could only see the “trans tipping point” as a threat to their cozy existing communities)

@ghost_bird: do you remember who did the video installation? I find the quote very powerful and would love to see more.

@mszwiebel It’s Rashaad Newsome - same artist as the cyborg fist collage. The video is Build or Destroy, and it’s mostly voguing in a burning CHI cityscape. That’s the end title

@ghost_bird The second one reminds me of the thing in Hindu temples.. I wonder what it's meant to say..

@snowyfox For the artist, it’s about being visible without being judged:

“ The Soundsuits were [Nick] Cave's response to… his own feelings as a Black man of being 'devalued, less-than, dismissed'. The costumes obscure the body with pattern and colour, confounding
easy recognition. ‘It erases gender, race and class' the artist explains, ‘it forces you to look at things without judgement.’ Soundsuit 9:29 responds to the murder of George Floyd in 2020 by police in Minneapolis, Minnesota.”

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