I am looking of course out for only my after thought or my thinking then my found UTOPiA among then looking and not finding but always looking for those ZINE, among those, and then—thinking as it were to FAG and forgetting those who among 18 were wondering or then caught up with myself. I left myself. I kept for myself something to remember you by, I thought tips and then franking, marked as it was then, cut to keep from—and I slipping away, always towards but never from forgetting you and forgetting me…

Dear writer, A Queer Year of Love Letters is a series of fonts that remembers the lives and work of countercultural queers of the past several decades. The series aims to make the act of remembering these overlooked and illegitimate histories accessible to other people, as easy as typing. Better yet: it aims to make the act of typing an act of remembering. That these fonts might be considered typefaces is incidental. They are an attempt to improvise a clandestine lineage, an aspatial and atemporal kind of queer kinship, through the act of writing. I began making these fonts in order to ...

The education project Pink Triangle is a long term project initiated by the Education Department of Museo Reina Sofía in 2019 as a space of reflection and action regarding LGTBIQ+ activisms in school spaces. Through their experiences, perspectives and reflections, students, teachers and families contribute to this complex and necessary discussion. The project entailed 3 workshops, a video dialogue and the set of materials presented here. These didactic materials make up the vertices of a triangle of reflection and action around experiences and tools related to sexual and gender diversities that coexist in schools, which are, by their very nature, ...

If you’ve been listening to this podcast these past eight years, you know that we always do our interviews “in house,” as we value the moment of the recorded conversation as well as the encounter with someone’s work and personality. Rules are made to have exceptions however, and today we are happy to introduce you to a conversation between Amélie Tresfels and Michaëla Danjé around the book that Michaëla recently edited,  entitled AfroTrans. This book is the very first one published by Cases Rebelles‘ newly created publishing house. With this new endeavor, the panafrorevolutionary collective co-founded by Michaëla, continues to ...

Group Material’s work was primarily topical and temporal, fueled by our personal and collective observations—and by the social urgencies we perceived. Our horizon was the present tense. In 1989, the curator of the MATRIX Gallery at the Berkeley University Art Museum, Larry Rinder, invited us to address the subject of AIDS after seeing our exhibition at Dia Art Foundation the year before, “AIDS & Democracy: A Case Study.” At the time, Group Material consisted of Doug Ashford, Julie Ault, Felix Gonzalez-Torres, and Karen Ramspacher. By 1989, we had witnessed several years of the epidemic with severely inadequate public response.The accumulation of ...

For this episode of our “Criticism in Conversation” series, a writer and collaborative performer, Jacob Wren, speaks with artist Dayna Danger, about the line between empowerment and objectification and the meaning of community in both their work. Danger is a 2Spirit/Queer, Metis/Saulteaux/Polish artist whose images highlight and queer power dynamics, kinship, representation, and sexuality. Wren makes collaborative performances, exhibitions and literature, including 2014’s Polyamorous Love Song and this year’s Authenticity is a Feeling, a hybrid of history, performance theory, and memoir. Together they cover a lot of ground, from personal narratives and community relationships to speaking against silence and apathy. We ...

OOR Saloon & Killjoys invited four musical and per- formative positions to collaborate in a collective sound performance. The performance-session took place at the publication-launch of Sabian Baumann, Karin Michalski: An Unhappy Archive at the Gallery Mark Müller in Zurich… An Unhappy Evening followed the invitation of the publication to create shared spaces for bad queer feelings and offered an experimental, performative listening-setting, which allowed failures, differences, pauses and interruptions to take place. An Unhappy Evening wanted to find out, how we can listen closely to each other and interact with one another through sonic and performative practices, but without erasing ...

I AM AT A LOSS…

FUCKING ATTEND 2 THIS ISSUE…

Batoul Faour takes stock of the shattered glass in Beirut in the aftermath of the August 4th port explosion to uncover political violence waged through this fragile material; Jacob Cascio carefully unfolds the story of the National AIDS Memorial Grove’s ever-changing landscape; Tamara Zeina Jamil looks beyond Rikers Island to reveal the machinations of the carceral industrial complex; and Brandon Adriano Ortiz coils together a personal, spatial, and temporal account of Taos and the Taos Pueblo that casts body, building, and micaceous clay into ongoing relation.

IT DOES NOT TAKE ________ TO SEE WHAT THERE WAS TO BE MADE…

Dorian visits the stream to investigate gay frogs.