Our beloved state broadcaster brings tidings of intersectional joy: 

Reading about quantum physics has really helped me understand my queer identity… It is in this model of space-time as a series of entanglements that I’m able to piece together all of the fragmented sects of my identity – being able to identify as British and Iraqi, as queer and Muslim, as someone of many genders and potentially no genders at all.

Readers may wish to imagine the faces of, say, Erwin Schrödinger or Max Planck on hearing their field being compared with the staggering intellectual heft and rigour of “queer theory.” By a chap with blue eyebrows, fake boobs and voluminous pink acrylic hair.

Via sk60.

For newcomers, three items from the archives:  

Feel the Racial Healing. 

The Guardian’s Aisha Mirza bemoans the “psychic burden” of living among white people, which is worse than being mugged.

The more I think about it, the more this may exemplify a near-perfect Guardian article, the ideal to which all other Guardian columnists should aspire. It’s haughty and obnoxious, is ignorant of relevant subject matter, is frequently question-begging, and its imagined piety is premised on a rather obvious double standard. Specifically, Ms Mirza’s belief that people who leave London do so, secretly, because they don’t feel comfortable living among people with skin of a darker hue, which is racist and therefore bad, and her own simultaneous preference not to live among people whose skin is paler than hers, which is somehow not racist at all, and is in fact aired as the last word in righteousness.

Aesthetes, Take Heed. 

Brace yourselves for some taxpayer-funded cultural improvement.

Those with a taste for even more daring and challenging work may prefer the theatrical stylings of Mr Ivo Dimchev, a “radical performer” acclaimed for his “gripping sensitivity” and whose performance piece I-ON “explores” the “provoking functionlessness” of various objects, before showing us “how to make contact with something that has no function.” Readers are advised that the aforementioned contact-making, which was performed as part of the 2011 Vienna International Dance Festival and is shown below, inevitably includes vigorous self-pleasure with what appears to be a wig.

Strange Construal. 

In which socialists misremember a 1970s sitcom.

To seize on The Good Life as an affirmation of eco-noodling and a “non-greedy alternative” to modern life is unconvincing to say the least. The Goods only survive, and then just barely, because of their genuinely self-supporting neighbours – the use of Jerry’s car and chequebook being a running gag, along with convenient access to Margo’s social contacts and expensive possessions. And insofar as the series has a feel-good tone, it has little to do with championing ‘green’ lifestyles or “self-sufficiency.” It’s much more about the fact that, despite Tom and Barbara’s dramas and continual mooching, and despite Margo’s imperious snobbery, on which so much of the comedy hinges, the neighbours remain friends. If anything, the terribly bourgeois Margo and Jerry are the more plausible moral heroes, given all that they have to put up with and how often they, not Tom’s principles, save the day.

There’s more, should you want it, in the updated greatest hits. 

Or, Another Packed House. Or, The Hours, They Flew By.

Strap yourselves in and crack open the booze because, yes, once again, I bring you jewels from the world of performance art. Specifically, the deeply melodious, mind-shattering creations of Ms Eames Armstrong, whose collaboration with Matthew Ryan Rossetti and a being named Kunj was happily captured on film for all of future time. Said performance, titled Through Bush, Through Briar, was recorded at the Atlantis Gallery, Richmond, VA., in November 2014. Regarding Ms Armstrong’s piece and her aesthetic practice in general, we’re told, 

I am not an entertainer.

Instead,

I perform actions that reflect and complicate everyday life… I challenge preconceptions of performance, destabilising visibility and invisibility. 

Naturally, Ms Armstrong is also,

Transgressing conventions.

You see, she’s

shifting our perception of the world.

This feat is achieved by means of,

Oral fruit play… binding breasts in tape… kissing with black lipstick… spitting in your mouth… having visions of the underworld.

And if further intellectual heft is needed,

Through Bush, Through Briar is loosely inspired by Shakespeare’s A Midsummer Night’s Dream. 

As will no doubt become clear in the following video of highlights from the hour-long performance:

It’s time you philistines were subjected to rewarded with some cultural improvement. It’s for your own good, so I won’t have any complaining.

First up, here’s a little something for the diary:

The first collaboration between tattooist and fantasy artist Loren Fetterman and performance artist Stefanie Elrick, Written in Skin will see the stories of an international group of strangers [being] ‘blood-lined’ across the entirety of Stefanie’s body in one sitting. ‘Blood-lining’ is a semi-permanent form of tattooing without ink, the results of which are akin to scratches visible for weeks that gradually heal and disappear. Literalising the emotional marks we inflict and receive through experience, then transforming them into a customised piece of body art, this project explores vulnerability, intimacy and the regenerative process of love.

It explores. But of course. Oh, there’s more.

As the skin begins to restore itself the following weeks, photographer Jamie Alun Price will document the healing process via an online picture diary.

Written In Skin will be, um, performed at the Cornerhouse Annexe, Manchester, Sunday May 19th, between 11am and 5pm. 

Readers with £15,000 to spare could also consider rewarding artistic greatness by purchasing a pleated white dress, briefly worn by a happening pop artiste named Lady Gaga, and vomited on by the performance artist Millie Brown. Ms Brown’s colossal vomiting works will no doubt be familiar to our regulars.

And those with a taste for even more daring and challenging work may prefer the theatrical stylings of Mr Ivo Dimchev, a “radical performer” acclaimed for his “gripping sensitivity” and whose performance piece I-ON “explores” the “provoking functionlessness” of various objects, before showing us “how to make contact with something that has no function.” Readers are advised that the aforementioned contact-making, which was performed as part of the 2011 Vienna International Dance Festival and is shown below, inevitably includes vigorous self-pleasure with what appears to be a wig: 

Alas, no post today. I’m busy reviewing this. However, rest assured I am thinking about you.