Is this good for anus?

“Missing Strands. The year is coming to a close, and in the weeks before winter holidays six more communiqués are exchanged. There is an attempt to wrap things up, even as there is full recognition of the impossibility of that—some strands will always stay missing, in the letters as in relationships. In a letter dated 9 December (though began in the week prior), the topic of queer form returns, this time with an extended quote from Eve Kosofsky Sedgwick in which she articulates her understanding of queer formalism. For Sedgwick (and, in turn, for Aimar), it involves a kind of fantastic imbuing wherein ‘… objects whose meaning seemed mysterious, excessive, or oblique in relation to the codes most readily available to us, became a prime resource for survival. We needed for there to be sites where the meanings didn’t line up tidily with each other, and we learned to invest those sites with fascination and love.’ And then New Year begins. It is marked here by a letter within a letter, sent by Sands to Aimar on the first day of 2021. The nested letter dates back much further, to 2015 when Sands wrote to Carolee Schneemann following their difficult meeting in Salzburg during the opening of Schneemann’s retrospective exhibition at the Museum der Moderne. In this moment of carefully selected over-sharing, Sands performs one final gesture of ‘spilling out’—Sedgwick’s description of the excessive, of survival and of the need for sites of messiness (where things don’t quite line up) seems to come alive on the page. For all of that ‘abundance’, though, indeed some strands will always stay missing.” – MH studio note from ificantdance.studio.

“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… This is a ‘secret’ webpage on my website, that you need the exact link to get to. As with the normal/original ‘Sands Sex’ but with music added for extra affect/effect. Music I loved the listened to at the time…” – 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.

“I’ve been asked several times – it’s always been men – why I do things. WHY. It’s always been a red flag.” – SMW.

Rijksakademie Internal Open Studios – 07.09.20. “Part of what I do is giving things away, which is why I don’t like the market-and why I haven’t been very successful.” – SMW. “Who does?” – Anon. “No one likes the market!” – SMW, AC and Anon.

“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.

“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.

“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.

SMW & AC inventorying session – 08.10.20. “Maybe it doesn’t take 20 years to understand the work, as Pina Montano says, but even to face the work.” – SMW. “I’m making an executive decision that the archive will have inconsistencies.” – SMW. “How do you look at work that you made 20 years ago and don’t like or feel comfortable with? – AC. “Or relate to […] I don’t see the point in destroying things. They had a function.” – SMW. “It took me 10 years to make, my whole teenage years (‘I’m Proud of Myself’ sculpture), and I didn’t know I was making it. I was living. The accumulation is something I appreciate.” – SMW.