SRLP functions as a “multi-racial, inter-generational collective of people committed to a broad understanding of gender self-determination” and work as a law collective to create a ‘non-hierarchical’ structure to support those facing struggle, aiming to “redistribute power and wealth for a more just society.”
The issue explores the complexities of the ‘personality disorder’ with new perspectives on “identity, the virtual, transcendence and how our aesthetic embodiment relates to capitalism.” Looking at the ways our “psychic/social ecology meets with the environmental in haemorrhage of inner to outer”, the focus relates to the overarching aim of the zine which is rooted in “ecology’s muddled identity.”
Hannah Quinlan & Rosie Hastings are presenting installation How to Survive a Flood@GAYBAR at London’s David Roberts Art Foundation (DRAF), opening May 13 and running to May 28.
As part of the Curators’ Series’ Ways of Livingprogramme running to June 23, the London-based artist-duo will transform the DRAF Studio into a working bar featuring new video, audio, and light boxes that explore the history of New York gay resort Fire Island in relation to its present state of rapid gentrification and natural disaster.
The project aims to cite and critique the complicated identity of said LGBTQ community and its relationship with private property and privilege by reimagining it as a “queer, sci-fi and anarchic space” with works weaving CGI landscapes, found footage of post-Hurricane Sandy destruction and an audio piece produced by Jan Piasecki weaving together pop music and the sounds of ecological destruction.
The Garden group show will be on at Paris’ ROOM E-10 27, opening February 11 and running to February 24.
Thirteen artists will show work in ROOM E-10 27’s garden. The pieces will contribute to the environment, finding moments between the domesticity of nature and the ability to overcome and menace it, according to the press release, which also tells a tender story about Derek Jarman’s meditative and arid garden:
“Poking out of the flint surface, its irises, plants and rusty crosses made from wrenches, is a far cry from the green monochrome of Bree Van de Kampf’s perfectly tended lawns that adorn Wisteria Lane.”