Is this good for anus?

“That’s how I feel mostly, when I’m working – like I’m in a club.” – SMW. “Being on the receiving end of pleasure.” – AC. “This is why I’ve been so fixated in bottomness. It’s not common. Gay men always identified on the top side.” – SMW.

“Robin and I were in the hotel room when we told Carolee the title of the performance, and she said wryly ‘no one will ever get that.’” – SMW.

Gift Science Archive meeting – 20.08.20. “Carolee used to say: is this good for vulva? I ask ‘is this good for anus?’” – SMW.

SMW & AC inventorying session – 08.10.20. “My work is quite flat, almost reductive or stripped down. It’s not a negative thing.” – SMW.

Email exchange – 12.04.20. “I had to document it all, even with others, partners, etc. because gay pornography figures and has figured in my life so I have to put my own body where I see the bodies of others…” – SMW.

“We are moving quite fast today.” – SMW. “Look at us, masters of the archiving craft.” – AC. “Capitalising on the mystery of maybe being non-hetero.” – AC.

“Having history is worth something.” – SMW. “It feels good to have a thicker skin… you would think caring less would be worse but it isn’t.” – SMW.

“El ano tuyo. After much activity at the start of the fall season, things quiet down through October. The exchange picks up again about one week into November, beginning with a series of photos of Aimar emerging from el ano tuyo [your anus], a narrow passageway marking the end of a cave in the Basque municipality of Tuyo [yours]. El ano tuyo, as you could imagine, opens onto a discussion of sexual pleasure zones and control, which implicitly leads us back to the topic of queer form—as Sands suggests in his response to Aimar’s rite-of-passage photos, his work about sex is all painting, all ‘one big gestural stroke’. Here Sands disappointment with the rejection of an invitation to Adrian Piper mixes together with a discussion of control as lifelong sculpting process and the formal (or, perhaps, informe or formless) possibilities of the orgasmic encounter—sexual, textual and otherwise. The chapter closes with a 20-page essay by art historian Kathy Wentrack written on the occasion of the 2001 exhibition Double Trouble: Carolee Schneemann and Sands Murray-Wassink. In it, Wentrack traces the shared aspects of Sands’ and Carolee’s art/life practices, particularly their shared commitment to using lived experience as the basis for creative production. Wentrack’s text is an important reference point in the the development of a narrative linking second wave feminism with third wave queer (male) feminisms. Following the essay, Sands shares one last image, perhaps to make Wentrack’s point more palpable, more present: If we began with el ano tuyo, we end with a gold-plated vulva.” – MH studio note from ificantdance.studio.

“The images were taken by Rudy Rijling in Amsterdam, an (at that time) older than me erotic photographer of young men whose ad I found in the back of a contact magazine. I had just gotten back from Greece with De Ateliers on a residency trip and because of the weather difference I had a very heavy red rash on the insides of my thighs. Luckily on black and white film this does not really show up. I had wanted to make this wallpaper in 1997 for my first exhibit ever at Stedelijk Museum Bureau Amsterdam but one of the curators, Martijn van Nieuwenhuyzen (a gay man himself) advised 23 year old me against it, saying I would become known as the ‘guy with the erect penis’. Carolee Schneemann told me never to be ashamed of pleasure and how the body shows it. So I was confused, but listened to him and then in 2007, ten years later, at a solo exhibit in Munich at Lothringer 13, finally had the opportunity to have the wallpaper made. I had tried to become a gay porno model, but only half-heartedly. I went back to Rudy later to ask for the negatives which he gave me, we also had sex a few times at some point. It’s one of the first times I realized that much older men were attractive to me…There were 8 strips of wallpaper and they were never glued, they exist as unique objects. I have to add and I don’t really like to, it gives me no great pleasure, that part of the idea of the wallpaper came from Andy Warhol’s Cow series of wallpaper and other series of his. But there could have been other influences this was not an exclusive influence.” – SMW.

“I had to throw away a lot of these, there were also Dutch gay liberation magazines in the boxes Erik Hagoort gave me, called ‘De Verkeerde Krant’ or so, (‘van de verkeerde kant’ was a Dutch saying for a queer person) but due to storage I could not keep everything as a resource to use. There are hundreds of these painted drawings, and they get quite a good response. Paul Thek = newspaper paintings, Karen Finley = same as Paul Thek, Erik Hagoort is the partner of Dutch artist Albert van Westing and AA Bronson showed a fondness for the drawings.” – SMW.