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Because the bourgeoisie sees gays as sick and inferior, gays try to be even more bourgeois, try to bury their guilt feelings in a mass of middle-class values. They are politically passive and behave conservatively as thanks for not being beaten to death.


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My recent body of work addresses a certain amnesia. Consumer capitalism has been very effective in satisfying some desires, but also in foreclosing political debates and in blinding us to historical continuities. Among gay men in the U. We must continue to engage with it as cultural practice. For instance, there is a lot to be said for people claiming and enjoying public space. The New York subway system is under intense surveillance. Could one shoot a feature-length porno there in the present day? Of course, during this period, New York City was really dangerous.

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People got mugged and murdered all the time. This no longer happens as much as it did, but what is the price of security? I wish to remind people that it may be possible to reclaim a sociability that has been lost, because for one thing, it was a hell of a lot of fun. Let me add a word to answer the question that mentioned Beirut. I moved a few times. In some areas, you get access to at least three or four pornographic channels, some of which broadcast as well gay and lesbian material, twice or three times a month, probably not more.

When I lived in Ashrafieh, I used to take the elevator down every day, encounter an old man or an old lady who has probably access to the same cable network because everyone in our building had cable, and I always looked at them and thought: Have they watched that stuff? People do have sex in Beirut; people have sex against the laws that criminalise gay sex as well. I would never dare to ask an old lady in the elevator after saying good morning: What I have done is I programmed these author films that included highly gay sexual material in a program on sex, in a forum on cultural—not sexual—practices.

There are so many things that make us feel uncomfortable when they are made public. I have a problem with what you just said, and this is aimed more at you. I mean, the work we saw tonight is an artistic practice and I have nothing against or for the use of pornography in art practice. I find the work of William Jones very interesting because, first, it comes from a personal experience, and second, it presents a way of looking at history in a way, and questioning it and bringing a critical approach to it. Yesterday, for example, at 3 a. The problem is not about going across borders that the law imposes or allows.

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It is not sufficient to justify anything. For me, in Iran, if you could show your hair it would be great but this is not what makes art. I was a little bit disappointed by the first program, which I find quite poor; I only liked Couch; I would like you to tell me what the discourse that you are proposing is. No, of course, I presented films that I like very much as well. Originally, you would have seen half of it mixed with half of the other program.

This is regarding the dispersion of works. What I do is interventions in programming exactly like what I did a few years ago in Oberhausen, and I like that not only because it relieves me from the pitfalls of curators. From that perspective, I would not go into discussing every film, but I indeed like all the films that I presented. I have, of course, my favourite ones, and, of course, my less favourite ones. One of the problems that I faced is that I really did not find works made by women; maybe it is a lack of research tools; but as I said, this is an ongoing program and these will probably complement it with interesting works that I will see in the future.

One of the works that I like very much is Smoke Rings for example.

Another work I really like is Climax Modelling, even if it is the only work that was metaphorical, even though I was trying to avoid metaphors because one of the starting points of why I was interested in sex is because sex in Arabic cinema was this dark spot that is substituted by a metaphor, like: Another example is a close-up on the sink and water coming down and that substitutes a sex scene. My generation of people who watch Egyptian films are very cynical about this. We laugh about it. I mean, how creative can you be by substituting sex by these mechanisms? So that brings us to the question….

I did not research pornography. When I said I look at people in my building that probably saw the same porno films that I saw late at night, I was talking about the discomfort of crossing from the private space to the public space. This is why I raised the question of artistic practice and not of pornography. Yes, but this is why films are tagged. We said it in the beginning of every program. We said that the films contain highly sexual material that is almost pornographic.

You mentioned at the beginning of this panel that you wanted to speak about sex removed from any other notions. Is there [such a thing] as just sex? No, I agree with you completely. I think that you cannot dissociate sex from politics first. I think this is one of the challenges for me to explore in other programs, especially in the works of William E.

Jones where there is no sex yet sex and pornography are present.

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The idea of historical documents, the idea of exchanging context in which documents are used and exploited makes them poetic, while initially they were not. For instance, the film excerpts that Bill used in the film The Fall of Communism are now almost documentary rushes.


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Maybe I would have shown Majnounak for example, about how men talk explicitly about sex and where the idea of narrative comes into their testimonies. Did I answer you? It is a curatorial gesture but done by an artist, exactly like when I teach. There were very few Lebanese artists in your programs. I often speak with an artist I know in Warsaw who is doing a lot of research trying to find gay male artists working in Eastern Europe willing to present works with graphic images and there are almost none.

Does Beirut really need this? Who is your audience here? Can I do a small observation going totally with what you said? I want to say to Ali, who is not here today: Perfect, we needed this from a Lebanese artist, thank you, Akram, for this program.

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Where are the lesbians, the hermaphrodites and the transgendered? The queer community is big; maybe we need to know who they are, and to introduce them. Where is the gay community in the public? There are a lot of curators, a big international gathering, but the people that are concerned directly with the situation of gays and sex in this country are not present so that we can have a constructive debate. This is my observation, and please, next time, not only gay sex. Second, they were very didactic and presented very direct ways of looking at the.

Another thing I would say about a festival like MIX is that one of the things about your programming is that it made me realise why I do appreciate queer film festivals. When a festival like MIX started, it was for artists working with sexually explicit material. No one else would show their work and we were determined to keep making it. So we had to be faggots and queers and show the work there at MIX and this was the only place where we would show it.

Sometimes it sucked and sometimes it was great but that was a venue and there was no other venue and no other place for artists working with sexually explicit material. I do think that there should be a real discussion on what is sexual material. When is it in a piece of art? When is it not? When does it get labelled as queer or in MIX? When does it get to be in Home Works?

I can speak about these things from personal experience, since v. I very much appreciate MIX, because there are very few venues that can make a claim on being underground or subversive or doing something alternative in New York these days, and MIX, I think, really does that.

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The MIX audience is fairly diverse, something I welcome, because, unfortunately, in most queer film festivals, my work addresses an audience that is about 99 percent gay men, and I find this stultifying. I mean, where is everybody? People need to know to come so we can all have this experience in common. I think Bill said something to me this afternoon: It seems to me actually a very visible absence and so makes a picture about this space that we would otherwise not see.

In films there are very heavy generic expectations.

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In an artistic context, there are few things more volatile than an audience whose expectations have been confounded. All sorts of crazy stuff can happen, and I sometimes proceed at my own risk. Very quickly to follow on … because I thought that your point was very well taken addressing Kara Lynch. I did present that program at Tate, but generally these kinds of films and programs are not shown in the art museum context.