Love Manifesto: Embodying disorientation through erotohistoriography
Ceglarz, Jakub Jan (2020) Love Manifesto: Embodying disorientation through erotohistoriography. [Show/Exhibition]
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Video (Video Documentation of the "Love" exhibition at LAB155, Bologna (2019))
LOVE _ Exhibition film 2019 (1).mp4 - Other Download (56MB) | Preview |
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Video (Video of commissioned performance "Love Manifesto" (2019))
Love Manifesto by Jakub Jan Ceglarz (2019).mp4 - Presentation Download (97MB) | Preview |
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Text (Text of the performance)
L O V E M A N I F E S T O 2.pdf - Supplemental Material Download (60kB) |
Abstract
In her book ‘Time Binds: Queer Temporalities, Queer Histories’ Elizabeth Freeman (2010) recognises the erotic body as a method to speak about non-normative experience of chronopolitics for queer identities. Ceglarz’s research borrows Freeman’s method (erotohistoriography) and applies it in practice-led fine art research in order to materialise pleasurable nooks of time and to create experiences of disorientating interruptions. His research seeks to disjoint the dominant narrative of pain and trauma in discourses on LGBTQI+ identities.
Ceglarz does this by focusing on materialising the experience of melancholy that emerges from the loss of spaces that served and cared for gay erotic practices. His installation titled ‘Love’ (2019) uses a combination of works that reflect on the migration of these spaces from the partially public sphere into pre-dominantly private. In these works he uses phallic imaginary embedding it with the domestic materialities and practices; from plates, egg cups, table cloths and hand towels that are painted, embroidered ironed and displayed. Accompanying the installation is a performance piece comprised of: reading out aloud the ‘Love Manifesto’ (Ceglarz, 2019); a love letter addressed to ‘My Dear Old Faggots’: and phallic shaped glitter pieces thrown sporadically into the air from a coffee cup with the word ‘Cocksucker’ painted on it. To enhance this experience, Ceglarz also uses the poetry of Jean Genet in his pieces, attenuating the non-chrononormative melancholy that allows for the “collapse of past and future into an immediate intensity” (Johnny Golding, 2013).
The installation and performance piece formed the basis of a solo exhibition in the international artist-run space, Lab155, Bologna (2019), and were part of the international conference ‘Un-tie the Knot: Redefining normativity in Love’ (2019) part of ORGAN VITA arts festival in Croatia held in the Museum of Nicola Tesla, Zagreb.
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