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The digital platform hoping to redefine ‘queer’ art



If you’re in the market for ghoulish ceramic heads or colorful collages of gay sex among off-duty soldiers, a new digital art platform has you covered.

The one-of-a-kind online hub is a new venture from Queer Art Projects, a London-based production company. Launched last December, is currently home to sixteen LGBTQ artists and features dozens of pieces — from paintings to zines, photography to textile art — handpicked by its founders Tuna Erdem and Seda Ergul, and collaborator Mine Kaplangi.

Its goal: to uplift contemporary queer art in all its forms — and make it easier than ever to market it. “ believes queer art needs to be kept alive not only in the name of much needed diversity, but also in the name of perpetual creativity,” the website reads. “ is a space to celebrate queer art, and to help it live, flourish, thrive.”

Erdem and Ergul say they keep an eye out for art that goes beyond just addressing queerness in terms of gender and sexuality. They are interested in all the ways queerness serves as a force of creativity in life — in form, style, production and presentation.

A powerful platform was borne largely of Erdem and Ergul’s frustrations with the London art scene, and the limitations they feel it places on so many creatives. The art world forces queer artists into boxes, the pair argue, treating the term queer “as a life sentence” and ultimately “tokenizing” artists who identify as such. With, they hope to provide a space for artists to have the freedom to interrogate queerness as it relates to their work beyond its meaning as an identifier of sexual orientation.

“This is the moment when we first thought a commercial platform might create an alternative source of income to queer artists,” Erdem and Ergul, who both identify as queer, told CNN in an email.

“We are on our own trying to do something against the grain, in an art sector that is difficult to penetrate even if you do everything by the book and in a wider cultural climate that is becoming increasingly transphobic and xenophobic,” they said.

“When the straight cis white artist is free to roam as they please, only dwell on aesthetic considerations, come up with pure abstractions, why does the queer artist have to be limited to speaking about queer issues in a recognizable way to tick some boxes?”

London-based sculpturist Alicia Radage is one of the artists currently represented on the platform.
With hyper-realistic silicone models of tongues, ears, and breasts jutting out of brass wires like bouquets, Radage's work, she explains, is about dismembering things to unpack what it means to be human, and dissect the intersection of neurodiversity and queerness.

With hyper-realistic silicone models of tongues, ears, and breasts jutting out of brass wires like bouquets, Radage’s work, she explains, is about dismembering things to unpack what it means to be human, and dissect the intersection of neurodiversity and queerness. Credit: Alicia Radage

“I love my work being in the flesh and people being in the same space and time,” Radage told CNN. “And also that is incredibly draining on resources, time, energy, money… What I can do though, is spend loads of time in my studio making a piece of work, photograph it and put it in (an) online gallery. More people are going to be able to see it and engage with it,” she said.

Radage’s experiences with, and with Erdem and Ergul, have been a welcome change of pace from the wider art market — they are emotionally invested, she told CNN, but always professional. Their support allows her to create freely, while still allowing her to profit from her work, she explained. (Radage has yet to see any of her work sold through, however.)

Unpacking ‘queerness’

According to Stonewall, an LGBTQ charity based in the UK, “queer is a term used by those wanting to reject specific labels of romantic orientation, sexual orientation and/or gender identity.” While historically the term had been viewed as a slur against LGBTQ people, the queer community reclaimed the term in the 1980s — and today, it is often a preferred identifier.
Erdem and Ergul say they want their platform to break conventions around queerness. takes an even broader approach to the term, however, arguably closer to the word’s original definition as an adjective — as “deviating from the norm” in any and every sense, and not limited to art made by queer artists. Its website calls for giving “center stage and exclusivity to the marginalized and tokenized members of the institutional art world,” and is a space open to any creative whose work or aesthetic embodies this holistic definition of “queerness.”
A piece on by the artist Nicky Broekhuysen, whose work focuses on the binary code.

A piece on by the artist Nicky Broekhuysen, whose work focuses on the binary code. Credit: Nicky Broekhuysen

“One of the beautiful things about the term queer is (that it is) all-encompassing,” said Gemma Rolls-Bentley, chief curator of Avant Arte, an online platform that brings together emerging artists. “The definition of queer by its nature has got to be quite broad and inclusive.”

“It’s fantastic having a safe space for queer people,” Rolls-Bentley, who identifies as queer, said. “But a space where people who don’t identify as queer can come and celebrate and learn and share experiences with queer people is a really powerful thing that we need.”

But while Rolls-Bentley argues there is still merit in carving out space for queer artists in bigger museums, auction houses, and galleries,” Erdem and Ergul have different priorities.

“Most galleries do not understand queer artists’ specific needs. To most artists, feeling that you genuinely value their work, not just by assigning a price to it, but by understanding exactly where they are coming from with their work, is much more important than how much they sell.”

Top image: The landing page at QAP.Digital, which rotates regularly through artwork and pieces within the platform’s collections.


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Rubbish fashion: street art costumes of Kinshasa – in pictures – The Guardian



Falonne Mambu posing in her electric wires costume in Limete district, Kinshasa. As a performing artist, she raises issues about social development in her own country. The Democratic Republic of the Congo is potentially the biggest electricity provider in sub-Saharan Africa. Unfortunately, decay and corruption have crippled the national Inga dam, which only works to the minimum of its capacity. Nowadays, only 19% of Congolese people have access to electricity.

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Montreal artist won’t change puppet that community groups say looks like blackface



MONTREAL — A theatre performance for children featuring a puppet that has been described as racist is continuing in the Montreal area.

Several Black community organizations have criticized the puppet as being reminiscent of blackface minstrel shows — racist performances during which white people portrayed exaggerated stereotypes of Black people for laughs.

But the show’s creator — Franck Sylvestre, who is Black — has no plans to change the puppet, which he said is a caricature of his own features. Sylvestre said in an interview he can’t accept the idea that he’s not allowed to create a caricature of someone who is Black because racists created caricatures of Black people in the past.

“That’s unheard of for an artist,” he said.


The play, called L’incroyable secret de barbe noire — French for The Incredible Secret of Blackbeard — first drew controversy in February.

A performance at a municipal theatre in the Montreal suburb of Beaconsfield, Que., was cancelled after complaints by Black community organizations. The neighbouring community of Pointe-Claire, meanwhile, removed the play from its official Black History Month programming but allowed the performance to go ahead.

Sylvestre, who wrote the one-man show in 2009 aimed at kids aged five to nine years old, said he had never received a complaint about his show before February.

A series of performances of the play, which combines theatre, storytelling, masks and puppetry, begins Sunday in Laval, Que., he said, before he takes it to France for 30 performances.

Sylvestre said the play tells the story of a young man who travels from Montreal to Martinique — the Caribbean island where Sylvestre’s parents are from — at the request of his dying grandfather, who is haunted by his discovery of a mysterious wooden chest with a connection to the pirate Blackbeard.

Max Stanley Bazin, president of the Black Coalition of Quebec, describes the puppet’s appearance as “very, very, very ugly” and said he worries that seeing a Black person presented in such a way could cause emotional damage to young audiences.

“It will have an impact on them, it will have an impact on the mind of the young people who see this puppet, and that’s what we should think about,” he said in an interview.

People are more likely to speak out about racism now than they were in 2009, Bazin said, adding that he thinks Sylvestre should listen to community members and replace the puppet with a less controversial creation.

“If there are people in society who have said this isn’t right, you have to react,” he said.

Philip Howard, a professor in the department of integrated studies in education at McGill University, said he’s not sure the puppet is an example of blackface — but he said that’s beside the point.

“There is still very much the matter of representation and the potential use of monstrous and grotesque representations of Black people as a source of entertainment and even humour,” said Howard, who has studied contemporary blackface.

Howard said the intentions of the artist are less important than the impact of the performance on an audience.

“Here we have, in this particular instance, a whole community of folks that are responding and saying, ‘Wait a minute, we don’t love this, we don’t think this is OK and we’re particularly disturbed about it during Black History Month,’” he said.

Dismissing the opinions of Black people who have a problem with the performance demonstrates anti-Black racism, he said.

Sylvestre said he thinks much of the criticism comes from people who haven’t seen the play.

“It’s the job of the community to see what purpose these caricatures serve; are they, like blackface, denigrating Black people, or, as in my case, are they being elevated?” he said. “This character, he’s a strong character for me personally, and when I made it, I was inspired by myself.”

He said the puppet, named Max, is “like a great sage,” whose interventions lead to the play’s happy ending.

“Max, he was the voice of reason, he was the one who advised us, who mocked me when I made a bad decision, who was above me,” he said.

Prof. Cheryl Thompson, who teaches performance at Toronto Metropolitan University, said she didn’t like the puppet when she viewed a trailer for the play.

“I was extremely shocked,” she said. “I just couldn’t believe what I was seeing.”

While blackface minstrel shows are primarily associated with the United States, Thompson’s research has shown that blackface performances took place in Canada, with shows in Montreal as recently as the 1950s.

Even though blackface originated with white performers, Black actors in the 1800s would also don the exaggerated makeup and participate in the racist performances for white audiences.

“It actually didn’t matter if it was a white actor in blackface or a Black actor in blackface, it was the caricature that audiences thought was funny,” she said.

Thompson said there’s room for theatre performances to be provocative. But performers, she said, need to engage with audiences and be willing to discuss artistic choices — especially when artists are performing for audiences whose histories might be different than their own.

“Why wouldn’t this person at least try to hear the voices of people who maybe have a different experience to him?” she said.

She said she wouldn’t take a child to see the show, especially during Black History Month.

“I just don’t see the uplifting messaging,” Thompson said. “I don’t see the messaging of ‘you matter,’ I just don’t see that celebration of life. I just see something that is steeped in a history of racial caricature and mimicry.”

This report by The Canadian Press was first published March 25, 2023.


Jacob Serebrin, The Canadian Press

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Vancouver to remove unsanctioned spider art creeping-out transit riders



City staff are looking into how to remove a large metallic spider from under a high-traffic bridge on Commercial Drive in Vancouver.

The artwork, which startled some arachnophobic SkyTrain riders when it was installed earlier this month, was created by pop artist Junko Playtime.

In an email to Postmedia News on Friday, city staff say they were made aware of the unsanctioned spider artwork located in a corridor for SkyTrain and CN/BNSF Rail.

The installation wasn’t done in consultation with the city or the rail corridor partners, city staff said. They’re trying to figure out the best way to remove the artwork so there is no damage to the bridge structure or rail lines.


Staff said the artist will have the ability to claim the work through the city’s impoundment process.

According to Playtime’s Instagram page, the eight-foot-diameter spider was installed at night recently on the north bank below the bridge between North Grandview Highway and Broadway.

Playtime, from Montreal, has gained a reputation over the past two years for installing very large and far-out insect like futuristic sculptures from scrap metal and household items.

The artist called this latest spider creation “Phobia 2023. Time to face our fears.”

— With files from David Carrigg


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