Tamás is a “rich jewish gay dad from central europe”, as he defines himself. Of course he is more than that. True, he is openly gay and lives with HIV. But not only that, he fights against prejudice concerning both as the communications officer of European AIDS Treatment Group and as a PhD candidate researching the social psychology of HIV/AIDS. When not working he is one of the most provocative member of Hungarian tumblr community under the pseudonym @schulmeister. Most users have a love or hate relationship with him. But - to me - all this is a part of a performance, trying to stretch his own and the community’s boundaries and to talk about things even if uncomfortable to some. This kind of bravery has its rewards, but it isn’t always easy. 

This is his struggle and happiness on a regular Sunday afternoon frozen in time as portraits.

This HIV-Positive Reality Star Is Ready to Dance
The Prancing Elites Project Kareem Davis is done with putting limitations on himself as he looks forward to season two and beyond.

He’s terrified. Kareem Davis isn’t hidden by makeup or costumes today. He’s gathered the rest of his five-member dance troupe to finally open up about a personal struggle he’s been keeping secret. Davis isn’t afraid of telling his teammates he has HIV, but of coming out to the world. The cameras are rolling and soon this will air on national TV for all to see. But in the moments after the performer begins to talk, and tear up, a look of relief washes over his exhausted face. His watery eyes have soon dried and he can finally breathe normally again. His friends and teammates—all of whom have been crying as well—offer shows of support.

And in a snap, Davis lifts his chin to the sky with a new lightness. “Right now, I need to dance,” he says. And they do.


Mad That Bill Maher Promoted a Quack AIDS Doc? Then Do This.

Maria Mejia: Millions of people around the world live full lives because of advances in HIV medication. Sam Chachoua wants them to stop taking them and drink goat’s milk instead. This misinformation on a global platform such as HBO will reach vulnerable people dealing with HIV, people who trust Bill Maher because he has made a career out of calling out science denialists. But this time, he has enabled one and it could cost people their money, health, and lives.…

HIV activists across the country are now coming together to sign this petition on Change.org, which demands HBO host a real HBO expert on the show.


Gran Fury was an artistic collective active in New York between 1988 to 1995 that operated in tandem with ACT UP, the AIDS advocacy group founded in the city in 1987. The organizations’ graphical material, in particular its iconic SILENCE=DEATH design, eventually disseminated beyond the city and beyond activist circles into national discourse and popular culture. Named for a line of Plymouth cars used by the police department, Gran Fury’s tactics embraced advertising techniques - bold aesthetics and graphic design, the exploitation of public spaces, emphasis on wide distribution. At the same time, its members remained wary of the branding of its art as trendy “convenient product” and consistently emphasized the limitations of art and importance of direct action, exemplified by the recurring slogan “Art is not enough”.

Our first projects were poster sniping (illegal wheat-pasting of posters on vacant signage), and Xeroxed flyers, a working method which grew out of an ACT UP aesthetic and our limited funds. After about a year, our tactics changed as we questioned whether postering was the most effective means of reaching a large general audience. 

As Gran Fury received increasing art world support, we did so with the condition that we receive the greatest possible public access to our work, in most cases exhibiting outside the art space itself. We decided not to produce work for the gallery market. Art institutions provided us with access to public spaces a group such as ours would otherwise never have had the resources to acquire; they profited through supporting AIDS work by an activist group which met their aesthetic standards and which was willing to observe certain boundaries of wheat was and was not allowable-explicit obscenity or critique of their sponsors.

…At the same time, our work began to feel like a signature style, a convenient product for the art world to use to fulfill its’ desire to “do something” about the AIDS crisis. Gran Fury’s status as flavor of the month in the American art world was over; interest in our work had shifted to Europe where we consistently felt handicapped by attempting to understand their specific issues, as well as by our inability to use colloquial slogans. In 1992 we designed a campaign for Montreal which utilized the symbols of Quebecois sovereignty to draw attention to AIDS issues – specifically a warning to conduct research and design programs that would apply to the Canadian situation. The project backfired because the icon we chose to use was too potent – some did not recognize it as an AIDS campaign. In general, we found that we could only produce the most general messages, otherwise we ran the risk of misreading a local situation or creating something that would fail in translation.

Good Luck…Miss You ~ Gran Fury

We want the art world to recognize that collective direct action will bring an end to the AIDS crisis. And that collective direct action can mean a whole lot of things across a whole lot of communities: we have already been co-opted, we are complicit with the art world’s institutions in what we hope are strategic ways. We do not only act as an irritant, we also point to what’s going on in society at large. 

Whenever we can, we steer the art world projects into public spaces so that we can address audiences other than museum-going audiences or the readership of art magazines…

Our main beat isn’t with the art world, it’s with the United States government’s lack of response and the political crisis that underlies the medical crisis of AIDS. If we can use the art world as a tool to broadly articulate concerns, then we are glad for that support. My fear is that the heavy emphasis on the cultural analysis of AIDS distances us from the fact that this is a living, breathing crisis in which lives are at stake right at this moment.

BOMB: Gran Fury by Robert Gober


On World AIDS Day, we remember artist Felix Gonzalez-Torres, who died from the disease in 1996, and all those we’ve lost. This evocative photograph Gonzalez-Torres took of his own bed is especially poignant given the loss of his partner, Ross Laycock, in the year he produced the work. 

[Felix Gonzalez-Torres. Untitled. 1991. The Museum of Modern Art, New York. © The Felix Gonzalez-Torres Foundation, New York. Photo by David Allison]

anonymous asked:

Can some STI/Ds be cured and gone for good? For example, if someone takes the prescribed medicine for Chlamydia, can that person safely become fluid bonded with someone later in life and not have to worry about transmitting that to them? I don't think this would be the same for HIV, though... correct?

Yep!  It depends on whether they’re bacterial or viral infections:

So, like your example, if you get Chlamydia, it can be treated with antibiotics.  After the antibiotics treat the infection, there are no more Chlamydia bacteria in your body.  You can become fluid bonded with someone else & have no concern of passing it to them.

However, if you have a viral infection like Herpes or HIV, there is the possibility that you pass that to someone else, even while you’re treating it.  

It’s important to remember, though, that someone who is responsibly taking their medicine to treat a viral infection like HIV & who has their viral load (a measure of the number of viruses in their blood stream) at very low or “undetectable” levels is unlikely to transmit the virus. Because of that, it’s most important to get tested (even if you don’t want to find out that you have a viral infection) because treatment make it a million times better.


Questions Young Lesbians Have For Older Lesbians

“Talk about fearless in her home in Bel-Air. It was a safe house. A lot of the work that she did, it was illegal, but she was saving lives. It was in a time when it was not something to do. Business associates pleaded with her, ‘Leave this thing alone.’ She received death threats. Friends hung up on her when she asked for help, but something that I love about Elizabeth is her courage.”

Elizabeth Taylor ran an underground AIDS pharmaceutical ring to provide drugs to patients


Posters from the War on AIDS

One day in the early nineteen-nineties, during the worst of the AIDS crisis in the United States, a physician named Edward Atwater was taking a Red Line train in Boston when he noticed a cartoonish poster on the wall. It showed a pair of hands unwrapping a condom, with a simple message on either side of the illustration: “Prevent AIDS. Use One.” 

The poster, which was created by the Massachusetts Department of Public Health, interested Atwater so much that he started a collection. In the following decades, he amassed some sixty-two hundred posters in a range of languages and dialects—Arabic, Chinese, English, French, Spanish, and nearly sixty others. 

See more on newyorker.com.

High resolution poster based on HIV/AIDS-related issues and a political poster poster designed by Richard Deagle, Tom Starace, & Joe Wollin for ACT UP (AIDS Coalition to Unleash Power). The stars from the flag are inspired by a Diné (Navajo) rug woven by Bertha Harvey. These two pieces of artwork were made around the same time as the HIV/AIDS epidemic and the continued genocide, forced assimilation, and various health epidemics Indigenous Peoples of north america have been faced with since the onslaught of colonization. This poster coincides with World AIDS Day & Day With (out) Art. As with all our posters, feel liberated to print out & wheatpaste at will!

The United States of America (USA) currently has around 1.2 million people living with HIV, with one in seven people unaware that they have HIV. The size of the epidemic is relatively small compared to the total population, however it is heavily concentrated among several key affected populations and geographically in the southern states – where 49% of all HIV new infections occur.  Since the beginning of the HIV and AIDS epidemic, 659,000 people have died of AIDS-related illnesses in the USA.

Young people aged 13-24 accounted for 21% of new HIV infections in 2011, despite only making up 17% of the USA population. 81% of these infections occurred in the 20 to 24 age group.

Addressing stigma and discrimination around HIV is a major challenge for the USA, including misconceptions about how HIV is transmitted. For example, in a 2011 survey, 45% of people stated that they would feel uncomfortable if someone living with HIV prepared their food.

More information and statistics are available here:


Survivance &

contact: burymyart@gmail.com