Darkrooms: retracing childhood memories (exhibition)

    Research output: Artistic and non-textual formExhibitionSolo art productionpeer-review

    Abstract

    Within gay culture, darkrooms are highly sexual spaces that are exclusively used for cruising and anonymous sex. It is a labyrinth of men, where you move through the maze, feeling different bodies. Performing. Grinding. Submitting. Through thoughts, conversations and a reflective process, the presented body of images, text, and video/audio sculptures by Abdullah Qureshi explore personal histories, trauma and childhood – in particular, looking at questions of sexuality through the lens of queer bodies of colour.

    The autobiography has been a prominent thread in Qureshi’s practice, which in the past has looked at sexual abuse through visual metaphors such as interior objects. Taking that forward, the current work grapples with the issue much more directly, juxtaposing floor plans that are marked with sexual memories for the artist and erotic characters that translate triggering experiences of being in darkrooms. In addition, expanding on a recent paper, titled ‘Queer Migrations: the case of an LGBT Café / Queers without Border’ (Published in Feminism and Queer in Art Education, 2018), the exhibition also features the voice of an Iraqi gay man recounting memories of his homeland and subsequent outing.

    Exhibition duration: 21 - 27 June 2018.
    Original languageEnglish
    Place of PublicationHelsinki
    PublisherThird Space Gallery
    Publication statusPublished - 21 Jun 2018
    MoE publication typeF1 Published independent work of art or performance
    EventDarkrooms: retracing childhood memories - Third Space Gallery, Helsinki, Finland
    Duration: 21 Jun 201827 Jun 2018
    https://helsinkipride.fi/event/darkrooms-retracing-childhood-memories/

    Field of art

    • Contemporary art

    Fingerprint

    Dive into the research topics of 'Darkrooms: retracing childhood memories (exhibition)'. Together they form a unique fingerprint.

    Cite this