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over/exposed begins where a traumatic experience collides with an artistic process. Through multiple video, photography and sound installations, but most of all through an ongoing co-creative process, the exhibition traces the discomfort, disorientation and pain of queer people that is caused by a continuous exposure to microaggressions.
over/exposed articulates queer experiences without comprising on their complexity. We deliberately stretch the viewer's understandings of queerness, documentary and liberation, while holding space for vulnerable bodies in need of soothing.
"An analysis of experience that aims to be radical and trascendental can only ever be fragmentary and incomplete."
Johanna Oksala, Phenomenology of Gender, p.241
With over/exposed, we collectively research lived experience through film art. But we also research film art through lived experience: how can film help to create political, phenomenological and embodied realities?
We don't do this research from an objective distance: we lean into the semantic richness and infinite meanings that opacity and poetics offer, as Simek tells us. The queer body, the pain and joy of queer bodies, cannot be reduced to calculable analysis or resolution. We need entanglement and complexity to take up space. This is what impels us to engage in the political act of seeing other feeling, so say Deleuze, Ahmed, Bennett and Marks. This is where transformation lies.
over/exposed is a collaborative, non-hierarchical documentary space. the artworks - that address more senses than the ocular - want the viewer to wander, feel, listen with care, touch with their eyes, open up to fuzzy boundaries and reject the idea of closed answers. The exhibition hosted song and dance performances, spoken word, poetry readings and DJ sets. The space invites many different creative forms to come together and co-create with and through each other, perpetually becoming.
"To approach something poetically is to approach it as incalculable, that is, as irreducible to a formulaic analysis and resolution."
Nicole Simek, Stubborn Shadows, p.369
With over/exposed, we collectively research lived experience through film art. But we also research film art through lived experience: how can film help to create political, phenomenological and embodied realities?
We don't do this research from an objective distance: we lean into the semantic richness and infinite meanings that co-creation, opacity and poetics offer. The queer body, the pain and joy of queer bodies, cannot be reduced to calculable analysis or resolution. We need entanglement and complexity to take up space. This is what impels us to engage in the political act of seeing other feeling, so say Deleuze, Ahmed, Bennett and Marks. This is where transformation lies.
We ask:
DOES RESEARCH SEE YOU?
DOES RESEARCH SOOTHE YOU?
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