The Right Dissonance

From the artist: This is a neurodivergently true story about neurotransgressive performance (which I call proper performance). It contains some magic green liquid and a bit of an accidental erection.

Image of:
Laconian Statues (crumpled)
Tim Spooner
Watercolour
10x15cm

"TransMission: Sissy TV" is an exploration of the idea of trans archives. And auto-archive of the artist's body, work, costumes, props, hopes, dreams and memories accumulated over nearly three decades of creating queer work.

A compilation of images by Anne Bean from Dubinski notebooks. 

A short text and image piece by artist Kira O'Reilly, accompanied by a photo of O'Reilly's "Menopause Gym."

Mixed media textile piece by moa johansson.

In a cyclical feat of endurance and precision, Blood Show is a raw, euphoric choreography between 3 figures and 75 litres of fake blood. A call to action to put what’s inside on the outside and defend against a violent gaze, Blood Show questions rebirth and how we all carry our ghosts with us.

Writing by Shaun Caton surrounded by images of Shaun Caton's analogue montages "Night Life 11" (2024) and "Night Life 30" (2024).

Appears in COMPOST: Issue 2 Accidents and Emergencies

Article and performance photos from artist Eirini Kartsaki.

Part critical essay, part manifesto, part DIY guide and altogether unprecedented, Anna Anthropy's Rise of the Videogame Zinesters shows why the multi-billion dollar videogame industry needs to change - and how a new generation of artists can change it. In this first intergalactic offensive against corporate systems of production, condescending media coverage and pervasive 'gamer' culture, Anthropy takes a look at the new artists who are beginning to build an alternative body of work. A unique guide for anyone who wants to join the coming revolution of videogames.

What is performance? 31 performative programs to confuse the question.

Both in English and Spanish.

Por que falamos em arte nordestina ou arte nortista, mas raramente ouvimos a expressão arte sudestina para nos referirmos às produções do Rio de Janeiro ou de São Paulo, por exemplo? Essa pergunta, aparentemente simples, revela muito sobre o modo como o Sudeste foi historicamente alçado, e se impôs à condição de centro normativo da cultura brasileira. A produção artística dessa região costuma ser tomada como “a arte brasileira”, dispensando adjetivos regionais, enquanto as produções do Norte e do Nordeste foram historicamente enquadradas nas margens, exceções ou exotismos dentro desse panorama…