I See Queer People
10-24 February 2017
Three queer exhibitions that will appeal to
the young, the infirm and the spiritual
10 Junction Street, Marrickville
Just 6 minutes easy walk from Marrickville Station
Friday 10 February 6-8pm
Saturday 24 February 3-5pm
Boys don’t cry
Boys don’t cry is a tragic love story, a casual hook-up and an awkward first time. It’s all the feelings you couldn’t say, the coming out you never always wanted and a person you thought you could fall in love with.
Boys don’t cry is about the materialities of love and relationships, the 21st century’s constant stream of information, and the way their associated power relations aid the breakdown and construction of one’s own identity. This exhibition is one instance of how we might work through the endless experiences of being under construction, the questions we ask, the self-doubt we face, the love we feel and the places, real, imagined, semi-fictional or fluid it may take us to; online or offline.
For myself, as a gay man, this has been a long, enduring and seemingly lonely experience, a slow construction of my own identity full of self-doubt. I ask myself questions about masculinity, femininity, LGBTQI colloquial language and popular culture; things I don’t understand, things I want to reject/accept, things I’ve felt removed from yet so close to at the same time. In the digital age materiality points to a mess of diverse factors where materiality itself can be an effect of “an ongoing performance”. In this work I am referring to my own ongoing unsuccessful and semi-fictional performances of love as a homosexual, the identity politics of my own socio-political context and how I navigate them.
I am not the first to say boys don’t cry and this exhibition is by no means definitive of LGBTQI experiences. It is merely one of the many stories that exist in spaces that are real and tangible, sometimes imagined, semi-fictional and fluid.
 Lange Berndt, P. Documents of Contemporary Art: Materiality, MIT Press, London, 2015, pg.12
Gallery Two and The Cranny
Ingrid Stiertzel, Mark Shorter, Trevor Fry, Sean Lowry, Tim Hilton/LaDonnaRama, Daniel Mudie Cunningham, Jane Polkinghorne, Danica Knesevic
Curated by Jane Polkinghorne
Disco conjures a nostalgically, shiny, glamorous past while simultaneously suggesting disco’s collapse into a sparkling hole of excess and ridicule.
Disco Infirmo uses disco in the Australian context as its starting point, remote from the high glamour of the disco era at its peak at Studio 54, New York Operating from Australian vernaculars of ‘secondhandism’, the artists incorporate and infect this imported form, corrupting, mutilating and lionising via Australian cultural anti-glamour.
The artists respond to the sensations that Disco Infirmo evokes – nostalgia, sparkles, nausea, dance fails, Blue Light Discos, ridiculous fashion, rhythmic music, those too old for the dance floor, the bad and almost good dancers, Aussie pub rock discos, and mum and dad dancing inappropriately. Out of time and out of place, and yet the disco continues to be a democratic field for creative expression.
The Vast Interior
Phil Soliman’s exhibition utilises the experience of deprivation as a way to transcend humanity, to move beyond the very human banality of religious persecution and religious-inspired violence. The Vast Interior will acknowledge the rich history of fasting, isolation and extreme environments in the various religious traditions of Egypt’s inhabitants, beginning with the founder of Christian asceticism, St Anthony “the Great”.