Konstfacks bibliotek : Gay betrayals

Hylla	KONST - Ibz Quinlan, Hannah
Personnamn	Bersani, Leo
Titel och upphov	Gay betrayals
Utgivning, distribution etc.	Afterall Books in cooperation with Walther & Franz Koenig, London : 2022 D.A.P./Distributed Art Publishers, Inc New York :
Utgivningsår	2022
	Språk: Engelska.
DDC klassifikationskod (Dewey Decimal Classification)	700.453
SAB klassifikationskod	I
Fysisk beskrivning	101 pages illustrations (color and black and white) 21 cm.
Serietitel - ej biuppslagsform	Two works ;
Nummer i serie	[5]
Seriebiuppslag under titel	Two works ;
Anmärkning: Innehållsbeskrivning, sammanfattning	In 1997, during a symposium at Centre Pompidou, Leo Bersani presented a prescient critique of the assimilative tendencies that made 'gays melt into the very culture they like to think of themselves as undermining.' Mired in micropolitics, for Bersani, queer activism had relinquished the radical task of reconfiguring the horizon of the possible. Later published as 'Gay Betrayals', Bersani's intervention champions a truly disruptive vision of homosexuality, one that betrays the relational, identitarian and communitarian foundations of bourgeois heterosexual respectability through 'antimonogamous promiscuity'. Building on extensive artistic research into the politics of queer spaces and culture some 20 years later, artist duo Hannah Quinlan and Rosie Hastings revisit Bersani's polemic with a response in three acts. Through a kaleidoscopic array of drawings, preparatory sketches and egg tempera paintings, a narrative of everyday (homo)sociality comes into view. A series of statuesque figures are caught as they feel the outlines of existing power structures, try out new strategies of inclusivity and, ultimately, wrestle with the blurred lineaments of identity and community.
Term	Homosexuality in art. Homosexuality in art.
ISBN	9783753302393 3753302392
Antal i kö:	0 (0)

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*24510$aGay betrayals /$cLeo Bersani, Hannah Quinlan, Rosie Hastings ; edited by Elisa Adami, Amber Husain, Mark Lewis.
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*264 2$aNew York :$bD.A.P./Distributed Art Publishers, Inc
*300  $a101 pages$billustrations (color and black and white)$c21 cm.
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*4901 $aTwo works ;$v[5]
*520  $aIn 1997, during a symposium at Centre Pompidou, Leo Bersani presented a prescient critique of the assimilative tendencies that made 'gays melt into the very culture they like to think of themselves as undermining.' Mired in micropolitics, for Bersani, queer activism had relinquished the radical task of reconfiguring the horizon of the possible. Later published as 'Gay Betrayals', Bersani's intervention champions a truly disruptive vision of homosexuality, one that betrays the relational, identitarian and communitarian foundations of bourgeois heterosexual respectability through 'antimonogamous promiscuity'. Building on extensive artistic research into the politics of queer spaces and culture some 20 years later, artist duo Hannah Quinlan and Rosie Hastings revisit Bersani's polemic with a response in three acts. Through a kaleidoscopic array of drawings, preparatory sketches and egg tempera paintings, a narrative of everyday (homo)sociality comes into view. A series of statuesque figures are caught as they feel the outlines of existing power structures, try out new strategies of inclusivity and, ultimately, wrestle with the blurred lineaments of identity and community.
*650 0$aHomosexuality in art.
*650 7$aHomosexuality in art.$2fast
*70012$aQuinlan, Hannah.$tWorks.$kSelections.
*70012$aHastings, Rosie.$tWorks.$kSelections.
*7001 $aAdami, Elisa$4edt
*7001 $aHusain, Amber$4edt
*7001 $aLewis, Mark$4edt
*830 0$aTwo works ;$v[5]
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In 1997, during a symposium at Centre Pompidou, Leo Bersani presented a prescient critique of the assimilative tendencies that made 'gays melt into the very culture they like to think of themselves as undermining.' Mired in micropolitics, for Bersani, queer activism had relinquished the radical task of reconfiguring the horizon of the possible. Later published as 'Gay Betrayals', Bersani's intervention champions a truly disruptive vision of homosexuality, one that betrays the relational, identitarian and communitarian foundations of bourgeois heterosexual respectability through 'antimonogamous promiscuity'.

Building on extensive artistic research into the politics of queer spaces and culture some 20 years later, artist duo Hannah Quinlan and Rosie Hastings revisit Bersani's polemic with a response in three acts. Through a kaleidoscopic array of drawings, preparatory sketches and egg tempera paintings, a narrative of everyday (homo)sociality comes into view. A series of statuesque figures are caught as they feel the outlines of existing power structures, try out new strategies of inclusivity and, ultimately, wrestle with the blurred lineaments of identity and community.