The AIDS epidemic soured the memory of the sexual revolution and gay liberation of the 1970s, and prominent politicians, commentators, and academics instructed gay men to forget the sexual cultures of the 1970s in order to ensure a healthy future. But without memory there can be no future, argue Christopher Castiglia and Christopher Reed in this exploration of the struggle over gay memory that marked the decades following the onset of AIDS.
Challenging many of the assumptions behind first-wave queer theory, If Memory Serves offers a new perspective on the emergence of contemporary queer culture from the suppression and repression of gay memory. Drawing on a rich archive of videos, films, television shows, novels, monuments, paintings, and sculptures created in the wake of the epidemic, the authors reveal a resistance among critics to valuing—even recognizing—the inscription of gay memory in art, literature, popular culture, and the built environment. Castiglia and Reed explore such topics as the unacknowledged ways in which the popular sitcom Will and Grace circulated gay subcultural references to awaken a desire for belonging among young viewers; the post-traumatic (un)rememberings of queer theory; and the generation of “ideality politics” in the art of Félix González-Torres, the film Chuck & Buck, and the independent video Video Remains.
Inspired by Alasdair MacIntyre’s insight that “the possession of a historical identity and the possession of a social identity coincide,” Castiglia and Reed demonstrate that memory is crafted in response to inadequacies in the present—and therefore a constructive relation to the past is essential to the imagining of a new future.
“If Memory Serves is a carefully argued case for the deep, albeit repressed, kinship between the rise of queer theory and the horrors of AIDS. This is a book that boldly seeks to prod sleeping collective memories of old school faggotry—that pre-AIDS sensibility which harnessed promiscuous sex to an unabashed declaration of queer identity—toward a new historical narrative that refuses to enlist our past only to reinforce the claims of our present.” —Jonathan Katz
Sally Jesse Raphael Hot Drag Divas 2001.wmv Part 1 by Brad Fennel
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BUS:STOP Krumbach places the emphasis on active cultural engagement: 7 international architecture offices design a small functional building in public space – accompanied by local partner architects, implemented by skilled local craftspeople. The aim of this project is to link design achievements of international architecture with the know-how and skills of local handcraft-based businesses in the Bregenzerwald. This is made possible by involving regional architects as a kind of mediator between “foreign” creative work and the abilities of our craftspeople. Therefore the board allocates each visiting architect a regional partner. Projects in Krumbach, Austria.