Thesis in process

INDEX

0: Introduction
I|

Part one: Practice
I.1| 
Chapter one: Photographic work, past and present

I.2| Chapter two: Video work, past and present

II| 

Part two: Relation to a larger context: This will be in more general terms about gay representation, gay artists and the gay sensibility in general

II|2 Chapter 3: The photographic medium and Wolfgang Tillmans
II|3
 Chapter 4: Gay cinema and gay representation in film (from the American Underground to New Queer Cinema to present, I will mostly focus on the artists that I feel inspired by; Kenneth Anger, Gregg Araki etc.)

II|4 Chapter 5: Henrik Olessen (and his Warburgian research in gay representation in art)

IIIConclusion

IVBibliography

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Introduction

In the first year of Piet Zwart I have been looking at LGBTQI related topics. I mostly did so from a subjective perspective using photography, and by looking into queer cinema. In the presentation of the second term I made clear that I wanted to make a stronger statement with my work and be more political. 


Actually three lines of thought could be considered in my practice. Researching the photographic medium, but also the idea of 'seeing' in itself; developing a (gay) cinematic language of my own; and LGBTQI-related issues/identity. My graduation work will only include LGBT bodies. Employing the methodology of a working table I like to bring the several mentioned lines of thought together in an installation consisting of photographs and two flat tv screens (for now).

In the thesis I would like to further investigate on the above mentioned lines of thought and by doing so reflecting on my own practice. 

In the first part I will show my past work, how this has developed and lead the reader towards my present work. In the second part I will discuss my interest in photography, gay cinema, a selection of gay artists, and how their ideas/work overlap or differentiate with mine. The latter part will be mainly focussed on how homosexuals have been represented in the arts through a medium specific research in art photography and film. In the conclusion I will reflect and evaluate the process I made during the graduation year.

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Part one, past and current work

Chapter 1: Photographic work, past and present:



Juxtapositions to trigger new ways of reading images
To understand my current methodology and work and the use of photographic imagery I have to look back at my previous graduation project. In 2012 I graduated from the Academy of Fine Arts in Maastricht where I studied Visual Communication with photography as main focus.




For my graduation project I made an installation and photo book dummy with digital and analogue photo’s, incorporating self-portrait collages together with found footage from strangers’ family albums, microscopical images created in collaboration with a cancer research institute in Utrecht, pictures of the sun, the moon as well as abstracted images of taken in the surroundings of my own family’s home. =


Images from graduation project

The starting point for this project consisted out of the idea of de-baptization and photographing holy water under the microscope. I wanted to make a personal project about being raised religiously but being atheist and gay at the same time.

Following that I was studying authors like Christopher Hitchens and Richard Dawkins. In their books, God is not Great and the God delusion, they deprive the major arguments for religion and demonstrates the supreme improbability of a supreme being. Even though I agree on some of their views I decided to keep it personal. For this reason I went to my parents house to take photographs there. I started by taking pictures around my parents house in an abstracted form. This abstraction was necessary considering the fact that I did not want my work to become too sentimental. In order to still have an indicator of what these images actually represent, the following step comprised of looking for images in my collection of found family album photographs. I selected photographs where faces were obscured for any give reason. Simultaneously I created self-portraits visually inspired by photography from the 20s and 30s. These were digitally merged together with images taken from books concerning the universe, by doing so, obscuring my face to some extent. Again, to strengthen my argument, I created pictures of the sun and the moon, by juxtaposing these macro pictures with microscopic images, I literally zoomed in and out. 
In combining all these images together I tried to bring science, religion and my subjectivity together in a whole.

After Untitled 2012:
Before this I worked mostly in series but from this project onwards my photographic practice changed to mainly collecting different photographic images. From this point on, single images started to be less important to me than the overall combination of images. Through careful selection and combinations, I aim to create new analogies or connections between the different materials. When working with photographs, my methodology consists in arranging and rearranging my ‘collected’ images. Therefore my work should always be presented as a ‘table’ not as a ‘tableau’. The idea of the working table and the open possibility of changing the order of the images therefore also means that I do not work in fixed series or projects with my photographic images. This gives me a lot of freedom in what I photograph, which also means I have to be more selective in my curation.

Dissecting the table
Nevertheless what I have photographed has undergone slight changes throughout the following years. To give a better understanding how this has developed, I will dissect my tables below and divide my images in different categories.

Light and Sun Studies

The series Sun Studies (2012/2013) and Light Studies (2015/2016)

The first images of Sunstudies were actually created for my graduation exhibition, untitled (2012). In the time following I continued making these photographs. The images of Light studies were later created in my studio. My interest consisted in creating something that not necessarily would represent something but still would be a photographic image. Besides this experimental approach both series deal with the notion of registering something that we cannot see directly with our own eye, similar to microscopic images. In both series I used the camera as a tool to create images that are in a way still a direct fingerprint of our reality yet through certain technical choices, by for example using a pinhole camera and/or a long shutter time, become so abstracted that they only refer to abstraction and light itself.

People


Ting (2017), Steph (2016), Kalle (2017), Man with parrot (2015)


Even though I still sometimes make self-portraits my focus has shifted towards photographing people based on a certain desire to connect to them. What I never really considered, or necessarily intended, is that the people I photographed most of the time belonged to the LGBTQI community. First this manifested itself in making portraits of young men in the studio or on location, sometimes staged and partly undressed, sometimes spontaneously whenever I had a camera with me.

During the first year at the Piet Zwart Institute this developed consciously into photographing a bigger variety of people who belong to the same community. It entails a certain urgency to me for several reasons; first of all because I feel connected to this community, secondly to show a different way of living and expressing oneself in a still heteronormative, patriarchal, capitalist society. Thirdly because discrimination is still a big issue that I cannot comprehend how, and why.



Having this in mind I also went with a different mindset through my own archive. Pictures I never considered as work suddenly felt right to be included in one of my tables. Like the examples pictured below. The first two images are taken during a gay party where I used to photograph as a side job. The third picture is taken during an after party.

Safe space (2013), Party (2014), After party (2013)

Textures and surfaces




Scar (2017), Lavastones from Jeju (2016), Lines (2017), Blue hair (2015)

Another line throughout my photographic work are pictures of stones, skins, surfaces of shiny paper but also other subjects containing textures. These pictures are mostly taken from a close distance. Some are obviously constructed like such as the above pictures Lava Stones from Jeju and Lines, others are taken on a more spontaneous moment, like Scar and Blue Hair.


Altered images and the materiality of the photograph

Experimenting with the materiality of photography has always been part of my practice. I started with collages and subsequently developed with exploring a variety of different techniques or methods, as for instance Riso printing, ripping pictures apart, but also scanning while moving the image around.

There are three reasons for me to alter or intervene in my images. One is my interest in the photographic image itself, the second is creating desire through obscuring or distorting, the third is to give space to coincidences and give away some of my authorship over the image.

The photographic print here is important. In order to scan, rip, or make collages out of images one needs the actual printed (physical) imagery. Since images are nowadays mainly consumed online, one can sometimes forget about the tactility that images possess. This process is a reminder of the fact that the photograph can be and remains, in my opinion, an object in itself. For this reason I have made the personal decision to not print my works on materials such as dibond, since these hard shiny surfaces give photographs such a different feel and material quality.

Stitching it back together

First I print then I rearranging and select

How do these different types of images come together? I will answer this question with two examples. Recently I have had the opportunity to present my work in the context of two exhibitions. This resulted in two different site-specific installations.

The first show was the XXX-pride group exhibition at X-bank from the 30th of June 2017 till the 5th of September 2017 in Amsterdam. As the name suggests, the exhibition coincided with Amsterdam Pride. On view were a golden phallic needle suggesting penetration of skin (scar, 2017), body (back, 2018 and untitled, 2017) and surface (Lines ,2017). In addition images depicting body parts were displayed through images of a torso (Torso, 2016), an eye transplantation (Eye, 2015), and a liver (Liver of pancenzia, 2017). Lastly two abstract images were shown, namely Lightstudy #3 (2015) and Composition (2013).


sketch for the group exhibition at x-bank

In the context of the exhibition Intimacy op de Schans curated by Zippora Elders. I was commissioned to make an online exhibition page examining intimacy. The exhibition itself consisted in 4 solo shows of artists Aura Rosenberg, Hannah Perry, Cynthia Talmadge and Sam Contis. My contribution to the website resulted in a simple white online page which included a curated selection of my work and two hyperlinks (referring to the main website and my own portfolio page). While faces were hidden at the XXX-pride exhibition, this installations contained several portraits of LGBT people. They are accompanied by other images that try to strengthen a feeling of intimacy.

Current process: [Here comes the development of the graduation year]

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Chapter two: Video, past and present work

Below you can find two video's of one of my first attempts exploring the cinematic language. Through the use of slowmotion, colorful lights, black and white, sounds of outerspace, and by not having any dialogues I try to conceive a mystical/uncanny atmosphere. You see a young man, partly undressed looking and laughing in front of the camera, while a glass of water is being poured in slowmotion and in reverse. The poring of the glass is partly based on a never finished film by Henri-George Clouzot, L’enfer. The story was about a man who is overly jealous. He imagines in terror that his wife Romy Schneider is a sort of nymphomaniac, cheating on him with men and women. The scene were she is poring the glass, is part of a hallucination the man experiences. Instead of a female leading role, there is a young man playing the part, the gender roles are swapped. Other influences came from Kenneth Anger’s films, the use of light, and the overlapping of images but also the homoerotic content.

The second video is a continuation and also has no narrative. In the short film you see a friend of mine, dressed up in his usual attire. While I lie on his lap, staring into the camera, he shaves of my hair. As I am performing in it myself, there is a more performative element to it. Unlike, Untitled 2017, this video not filmed in a professional studio. For this film I transformed my friend’s own apartment with the help of redhead lights and colorgels.

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The Love That Whirls

What:

The Love that Whirls uses as a starting point the fact that in the 1950’s Eastman Kodak censored 16mm film stock which contained nudity or sexual content by destroying the film (or by taking it home). Because of this one of Kenneth Angers films, The Love That Whirls (1949) got lost. The Love That Whirls was based on a passage found in the book The Golden Bough: A study in Magic and religion (1890), which is a comparative study of mythology and religion. In the chapter Killing the God in Mexico Frazer describes the customs in Aztec society of sacrificing the human representative of a god. The rituals have all been well described by the Spaniards who conquered Mexico in the sixteenth century. Anger in all likelihood got inspired by a ritual sacrifice which was conducted during the festival called Toxcatl. The annual festival revolved around the sacrifice of a young man who would embody the character (god) of Tezcatlipoca. For a whole year he would be worshipped and treated as that great deity itself. After the year was passed, he would be taken to the temple of the sun, the priests would carve open his chest, then take out his heart, and finally offer it to the sun. The person selected was carefully chosen on the ground of his personal beauty. "He had to be of unblemished body, slim as a reed and straight as a pillar, neither too tall nor too short. If through high living he grew too fat, he was obliged to reduce himself by drinking salt water."(Frazer, p. 517a). 


The movie was shot in Mexico and in an interview Anger describes that “The film was to present a ritual of sacrifice. Many different cultures have had ritual sacrifices, but I was thinking specifically of Aztec rituals.” (MacDonald, p. 33). Taking into consideration that one of the first movies Anger saw was, Que Viva Mexico, another unfinished film, by Sergej Eisenstein and the fact that Anger re-cut the same raw footage later, one could assume that this film has influenced the way The Love That whirls was filmed.

How:

I started by writing an e-mail to Kenneth Anger, asking if he could provide me with some more information: how he looks back at this film, where it was filmed in Mexico, and if he had a script or something similar available in his archive. I did not get an answer (yet).

Following, I decided to go to Mexico-City for two weeks. Anger mentioned that “The film involved Lacy climbing to the top of a mountain and sacrificing himself to the sun.” (MacDonald, p. 33). I wanted to take it a step closer to the original sacrifice and film on the Pyramids of Teotihucan. To film there you need a permit. During the first week the government officials emailed me that they would not give me a permit. Anticipating on a no, the second option entailed filming with an iPhone and a stabilizer. Another bump in the road was the contact I had in Mexico. He organizes a gay party called ‘pervert’ so I assumed he was well connected with LGBT people in Mexico-city. Unfortunately he was not very responsive to my messages, therefore I had to find another solution because my time was running out. Not quit desperate yet, I started looking on Grindr (a gay dating app) to find the right person. Most people were looking for sexual encounters but then Sigfrido appeared. Shaved head, full of tattoos and piercings, strong face, he was perfect.

Part two, relation to a larger context


Chapter 3: The photographic medium and Wolfgang Tillmans

[excerpt: more to come later!]
The manner in which I think about the photograph as a fragment and how I present my photographs as a table relates directly to the work of Wolfgang Tillmans. 

As Shimizu writes in the book ‘the Truth Study Center’:"his part=whole relationship is characteristic of Tillmans. A sheet of photographic paper can act as a white wall and page, the relationship between the image and the margin can correspond to the balance of installation and layout, and equivalent qualities within a single work are projected as a constellation of several photographs onto pages and walls. […] They are not to be considered as compositions of separate units but as temporal and spacial developments of a single photograph.” (Shimizu, 2005, book has no page numbering?)


Wolfgang Tillmans work is built on the concept of “sameness” opposed to the concept of “identity”. This egalitarian way of thinking probably has it's background in his Lutheran upbringing. This concept of sameness translates itself in thinking in analogies: one thing is like another. An analogy. doesn't mean the same as a metaphor but as Kaja Silverman describes, “I am talking about the authorless and untranscendable similarities that structure Being, or what I will be calling “the world,” and that give everything the same ontological weight.” (Silverman, page 14).


Chapter 4: Gay cinema and gay representation in film

“To suggest that heterosexuality was invented places it in a context and denies it a privilege place as a “give”: as a product of human history rather than something “natural” it becomes historical. Since the 1980’s historians and theorists have debated the historicity of homosexuality – and consequently sexuality in general with early positions defined as “essentialist” and “social constructionist.” (Eaklor, page 8)

Some abstracts:

In the text, Homosexuality in films: Trends of Portrayal in Hollywood and Asia, the authors aim “to offer a systematic presentation of the portrayal of homosexuality in Hollywood and across different countries in Asia –– Japan, China and Hong Kong, India and the Phillipines –– to observe the converging and diverging trends over the years.” (Gayosa, p. 38)

In his text From the Bedroom to the Bijou: A secret history of American Gay Sex Cinema, Jack Stevenson talks about the history of gay sex cinema and equates this to the history of gay liberation itself. He looks at the journey that moved gay erotic cinema from the private to the public space.

In the book New Queer Cinema, B. Ruby Rich her writings on New Queer Cinema are brought together in one bundle. She has been writing about New Queer Cinema since it’s beginning, and this book gives an insightful look in queer film history.


Chapter 5: Henrik Olessen, Queering Arthistory

Henrik Olesen (1967) is a Danish artist living in Berlin. His work consists out of text, appropriated and manipulated images but also minimal interventions in spaces. Olesen’s work in general deals with sexuality, politics, discourse and how they are interwoven. In this chapter I would like to look at his work and how it is heavily informed by Deleuze/Guattari and Foucoult.

In one of his works/shows Henrik Olessen uses Warburgian methods to produce a homocentric genealogy of Western Art.

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Bibliography

Gregg Araki:
Chua, L.; Araki, G., (Fall, 1992), Profiles & positions: Gregg Araki (interview), BOMB, No. 41, pp. 26-28
Hart, K-P. R., (Spring 2003), Auteur/Bricoleur/Provocateur: Gregg Araki and Postpunk Style in The Doom Generation, Journal of Film and Video, Vol. 55, No.1, pp. 30-38
Moran, J.M., (1996), Gregg Araki: Guerilla Film-Maker for a Queer Generation, Film Quarterly , vol. 50, No. 1 (Autumn 1996), pp. 18–26, University of California Press

Kenneth Anger:
Doyle White, E. (2016), Lucifer Over Luxor: Archeology, Egyptology, and Occultism in Kenneth Anger's Magick Lantern Cycle, Presents pasts, 7(1), 2, p. 1-10

LGBTQI++:
Gayoso, M. G. T.;Tan, J.;Mazumdar, S.;Liu, Q. (2009), Homosexuality in Films: Trends of Portrayal in Hollywood and Asia, Media Asia;36, 1; Business Premium Collection

Ruby Rich, B. (2013), New Queer Cinema, Duke University Press
Stevenson, J. (1997) From the Bedroom to the Bijou, A secret History of American Gay Sex Cinema, Film Quarterly, Vol.51, University of California Press

Still have to read or order or find these books:
Bronski, M. (2012), Queer History of the United States, Beacon Press (still waiting for delivery)
Schoonover, K.; Galt, R. (2015) Queer Cinema in the World, Duke University Press Durham and London (waiting for delivery)
Eaklor, V.L., (2011), Queer America: A GLBT History of the 20th Century, The New Press (waiting for delivery)
Going here on nov. 18.:


Photography:

Silverman, K. (2015), The miracle of analogy, Stanford University press
Discussion @ MoMa about exhibition "Ocean of Images" about the major changes in image culture in the past 30 years:



Wolfgang Tillmans:

Dercon, C, Sainsbury, H, & Tillmans, H. (2017), Wolfgang Tillmans 2017, Tate publishing (catalogue of the tate exhibition)

Le Feuvre, L. (2007), Searching for Doubt, Foam magazine #13 searching, winter 2007
Shimizu, M. (2005), Wolfgang Tillmans: The Art of Equivalence (from the book, Wolfgang Tillmans truth study center), Taschen
Tillmans, W. (2012), Neue Welt, Taschen 



Film references:


Other:
Olly Alexander, growing up gay: http://www.bbc.co.uk/programmes/p057nfy7

https://www.newyorker.com/culture/photo-booth/the-obsessive-photographer-behind-americas-first-gay-magazine
http://www.stedelijk.nl/tentoonstellingen/carlos-motta-the-crossing