In the second part of our podcast series Popular Glory: Contemporary Queerness and the Moving Image, host Robbie Handcock speaks to Laura Duffy and Aliyah Winter about recent collaborations, and how to image queer lives, queer histories, queer youth.

Catalogue Notes

00: Robbie Handcock (RH): Introduces artists and their practice. Asks about Party Friends exhibition at Te Uru Gallery.

1.30 Aliyah Winter (AW): Discusses working with queer support and advocacy organisation InsideOUT, the process and ethics of turning a youth workshop into an exhibition, after an invitation by curator Chloe Geoghegan

2.30 (RH): Asks about kids creative input into Party Friends? Laura Duffy (LD): discusses process of workshops over 3 years, working under Covid. Ethical processes of working with youth.

5:30 (AW): Generational response to selfies, shared generational response to memes and content

6.30 (RH to LD): Push and pull of disgust and in Laura’s work, RH discusses Laura’s use of colour

8:20 (LD): DUIRVIAS exhibition at Blue Oyster, a 1 hr video responding to a ghost story. Discusses Connors’ prompt for her video.

11:00 (AW) Hardening installation produced for Enjoy Gallery, research on Matiu Island, the Lyman health home, historical materials, and instinctual processes.

15:15 (AW) historical practice of air bathing, working with LD to video the work on Matiu island

17:35: (RH to AW:) How do you turn research into an image? AW on process of experiment, LD describes spiritual aspect of AW’s practice, and performative actions as ‘calling back to history’

20:15 (RH): on looking for the queer lineage and validation in histories, representation in media, TV. image. AW on ‘reading between the lines’ to find queer histories

21:45 (RH): AW’s use of language and text in An affinity of Hammers an installation at Hobiennale. AW on the video Speaking without words, and appropriating the phrase ‘Trans women are stunning and brave’ from Alt-right sources and South Park TV show. “Re-routing structures that seek to harm”. Discusses audience response to the work.

26:00 (AW) Responding to the Births Death and Marriages reform act in Australia and NZ, and the self-declaration of gender.

27:00 (LD): on the phrase ‘if you have to shout to be heard, you are heard as shouting’ from from the lecture ‘Snap!’ (2017), by Sara Ahmed

29:35 (RH): How do different contexts affect the work. LD discusses installing Party Friends at Te Uru Waitakere remotely using Facebook messenger.

32:30 (RH): The lineage of queer video art, mentions Vaginal Davis. LD describes queer history as unrevealed, talks about strength of contemporary local queer art community.

35:30 (RH:) asks LD and AW about their dream collaborators.

37:38 End

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