CINENOVA in association with ELECTRA are very excited to present The European premiere of...
//Hers is Still a Dank Cave: Crawling Towards a Queer Horizon// by Allyson Mitchell and Deirdre Logue, 2016
In Cruising Utopia: The Then and There of Queer Futurity, José Esteban Muñoz writes, ‘We must dream and enact new ways of being in the world.’ Hers Is Still a Dank Cave: Crawling Toward a Queer Horizon responds to this injunction by bringing an everyday feminist utopia into being. This new world is not a remote planet twinkling in the distance. It is not only then and there—it is here and now, where we already live.
The future in Dank Cave is a mash-up of stereotype and utopia; it is not sanitized or sublimated. We won’t live in the future without our macramé, our shag, our little animals. The female body will not be cleaned up in this queer future—it will arrive trailing its effluvia: bodily fluids, odours, patches of fur, cellulite, granny panties, that sucking sound. The lesbian feminist body, the fat body, the depressed body—it comes wrapped in context, swaddled in knitwear, and it requires a lot of rest. By remaining horizontal and low to the ground, this body serves as a queer horizon, the warm light of potentiality breaking just beyond it.
Deirdre Logue is a film and video artist who focuses on the self as subject. Using ‘performance for the camera’ as a primary mode of production, her compelling self-portrait video suites investigate what it means to be a queer body in the age of anxiety. Diving deep into the unconscious, Logue’s recorded performances are a tangle of doubt, perversion, duration, sexuality, and psychic unrest. Uniquely located on the golden mean between excess and deficiency, self-liberation and self-annihilation, her works are at once unruly and uncanny.
Allyson Mitchell is a maximalist artist. Maximum politics. Maximum mediums. She works in sculpture, performance, installation, drawing, music and film. She is an associate professor of Gender and Women’s Studies at York University in Toronto where she also coordinates the Sexuality Studies Program. Her ongoing Deep Lez project has resulted in a coven of lesbian feminist sasquatches, a menstrual hut cinema, a performance troupe called Pretty Porky and Pissed Off and several short animated autobiographical films and videos.
Most recently Mitchell and Logue presented Killjoy’s Kastle: A Lesbian Feminist Haunted House. This project was conceived as a way to subvert hell houses built by radical evangelical groups that aim to frighten “morals” into its visitors. Using a ‘deep lez’ commitment to second wave community skill-sharing and political craft aesthetics blended with an inclusive consideration of current queer identity, Mitchell and Logue created a nightmarish and glorious vision of feminist terror where visitors are expected to form their own interpretations and are encouraged to engage in dialogue about contemporary queer politics. The Kastle has been represented in Toronto (2013), London (2014) and Los Angeles (2015).
They also co-founded FAG (Feminist Art Gallery) in 2010. FAG is based in Toronto and also spins in satellite spaces internationally. In order to build community to grow sustainable feminist/queer art, FAG has enabled art exhibitions and provided opportunities for emerging and invisible artists.
Both Mitchell and Logue have exhibited their extensive video and film work internationally. Her’s Is Still a Dank Cave is their first video collaboration.
This special screening will also include other works from the artists’ practices, plus a discussion and DJs Rehana Zaman and Letitia Pleiades for dancing afterwards.