The Armory Show art fair has branded itself as selling ‘New Work by Living Artists.’ In the spirit of trends and fads, this might read like the most contemporary statement, since it deals with the here and now. And yet, for someone investing in buying artworks, 'new’ and 'living’ carry a meaning that project into the future. The Armory Show promises its clients that the artists whose new work they are now buying will someday die. This is of course an obvious statement, yet for someone investing in an art piece, this means the artifact will increase its value when it becomes a collectable. The death of the artist is intrinsic to the value of the commodity. This logic echoes the win-win spirit of zero-risk debt derivative operations by which life pays the price as profits go to finance capital. Art buyers that work at hedge funds, consulting firms, and financial banks should feel comfortable with the fact that this market is also structured for their benefit. This little anecdote does not intend to simply bash art fairs. Since the underlying understanding here is that the commodity precedes the artwork, it is the relation between the artist and the artwork that interests me. The story of Vincent van Gogh’s life might seem to qave little to do with the life of today’s artist. And yet it is a telling story, especially with regard to the market value of an artist’s work after his or her demise. Therefore, the Armory Show slogan should be read as advice for an investment: buy new artifacts by living artists from us. We guarantee they will die.
QUEER HORROR is a new multimedia festival of genre works by queer artists, performers, and filmmakers. Short films and videos are punctuated by live campfire storytelling and performances that question horror’s relation to queerness and what it means to identify with the monster. QUEER HORROR is programmed by PNCA + Hollywood Theatre Media Resident Anthony Hudson and hosted by Portland’s premier drag clown Carla Rossi.
Maybe it’s the fact that queer people are so often relegatedto the shadow-lit world of otherness that the horror genre is more immediatelyrelatable for us. We grew up with boogeymen. We’ve lived with boogeymen. Goblins and ghosts are a welcome escape from real-life monstrosities. From the work of James Whale to John Waters and Clive Barker, and films and shows like Whatever Happened to Baby Jane to American Horror Story, horror has deeply impacted queer culture and sensibilities and QUEER HORROR asks why.
QUEER HORROR is programmed through an open call for entries. Films and videos under 10 minutes may be submitted for entry to firstname.lastname@example.org. There is no entry fee. Any films submitted will remain under the ownership of their respective authors and/or copyright holders and will be screened for this special engagement only.
DEADLINE: Friday, March 13, 2015 Saturday, March 21