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Queering Love, Queering Hormones
Film screening and project launch




This page: Schneeman: 'Fuses', previous page: Tara Matiek 'Operation Invert'

Friday 2nd October 2015, 7pm - 9pm. no.w.here project space, 316 - 318 Bethnal Green Road, London E2 0AG. Free - spaces are available on a first come, first served basis by following this Eventbrite link.
Free - spaces are available on a first come, first served basis by following this Eventbrite link.


This free screening takes place within the context of the BFI's forthcoming season Love, and launches a call for applications for artists to Queering Love, Queering Hormones, a project developed between no.w.here, BFI, and King�s College London, which has been generously funded by Wellcome Trust.

The evening features a programme of artists� film and video works which deploy a queer sensibility as they explore ideas about love, romance and desire. Through the screenings and discussion we�ll interrogate the narratives and concepts that film uses to represent and account for love, and compare and contrast them with those offered from a different intellectual apparatus � that of science.

This programme brings together works which reflect a panoply of desire, the expressions of hormonal longing or imbalance, desire and ageing, and the maelstrom of the chemistry of the body and of love.

Ultimately, this event aims to explode some of the tensions between art and "hard" biomedical science when it comes to love, between competing notions of queer romantic agency, biological determinism, and the one track mind of Hollywood studio moguls. As such, it will be the perfect way to launch the call for applications for Queering Love, Queering Hormones.

Featuring:
Carolee Schneeman: Fuses, 1965, 16mm 18:00
A silent film of collaged and painted sequences of lovemaking between Schneemann and her then partner, composer James Tenney; observed by the cat, Kitch."...I wanted to see if the experience of what I saw would have any correspondence to what I felt-- the intimacy of the lovemaking... And I wanted to put into that materiality of film the energies of the body, so that the film itself dissolves and recombines and is transparent and dense-- as one feels during lovemaking... It is different from any pornographic work that you've ever seen-- that's why people are still looking at it! And there's no objectification or fetishization of the woman."

Dr. Micha Cardenas: Pregnancy, 2014, Digital Video 13:15
'Pregnancy presents a vision of trans latina reproductive futures, based on my experiences of cryogenic tissue banking, aka sperm banking, after having been on hormones for many years. At the 2014 Civil Liberties and Public Policy Conference, Morgan Robyn Collado stated that violence against trans women of colour is a reproductive issue, because we are prevented from living long enough to realise our dreams of having children. I want more than just to live...

Sarah Pucill: Milk and Glass, 1993, 16mm 10:00
In this film an interior landscape is scrutinised, and an apparent rational calm is revealed as suffocating. Milk and Glass is an evocative journey from surface to interior a black-coated mirror, the hollow of a bowl, a cavernous throat; a brush demarcates a line of lip on a flat surface, a mouth doubles up with the bowl and is virtually spoon-fed till it chokes.

Tara Mateik: Operation Invert, 2003, Digital Video 12:30
Around the same time that I got top surgery-a double mastectomy with nipple graphs-the United States waged war on terror, and the FDA approved the use of botox, a classified weapon of mass destruction, as a cosmetic drug. To obtain my surgery I needed a letter from my therapist. Yet a consumer can arrange a house party, fashioned after the Tupperware party, where the doctor visits you to administer botox injections. I thought the double standard was clear. You can use cosmetic surgery to heighten your gender and reduce signs of aging by injecting a toxic poison in your face, but if you decide to use cosmetic surgery to confuse compulsory gender your sanity must be ascertained.

Vicky Smith: sobbingspittingscratching, 2012, 16mm 8:00
Bodily interventions on the surface of the filmstrip combine with intricate scratched animations to form a direct record of emotion.


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