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Risky Beeswax: Artistic Responses to the Biopolitics of Hiv/Aids

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Risky Beeswax: Artistic Responses to the Biopolitics of Hiv/Aids RISKY BEESWAX: ARTISTIC RESPONSES TO THE BIOPOLITICS OF HIV/AIDS ANDREW ZEALLEY A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN ENVIRONMENTAL STUDIES YORK UNIVERSITY TORONTO, ONTARIO NovemBer 2020 © Andrew Zealley, 2020 ABstract In my dissertation, I examine risk in relation to HIV/AIDS and queer art and sex; and the proBlem that industrial mitigations of risk pose to sexually active queer men living with HIV, the kinds of sex they want, and the people they fuck in the era of AIDS industry. I explore this proBlem through four themes that emerged during my interviews with artists whose practices respond to AIDS and/or queer sex: 1) risking the personal; 2) (radical, ludic, and risky) sexual ecologies; 3) AIDS, its intersections and risky representations; and 4) the role of risk in art and artistic practice. I also use methods of participant comprehension, sensory ethnography, participant sensing, and artistic practice. The role of the interviews in helping me select the themes shaped my theoretical conversation and the three interventions that comprise my dissertation: audio, video, and written. Industrial mitigations of risk fetishize HIV status and HIV criminalization in ways that stigmatize queer and HIV-positive sexual practices, communities, and cultures. Risk— as idea and practice—is multidimensional and has Been important in HIV/AIDS art/activism since long Before AIDS industrialization. I talk aBout Biopolitics and respond to disciplinary- and bio- power through Foucault’s concept of pastoral power and his politics of aesthetic self-creation. I understand (and use) risk as a response to hetero- and homo-normative codes, laws, and imperatives. As a ludic counternarrative to homonormativity, I explore constellations of risky sexual and artistic practices as sites of self-creation through the concept of a dynamic continuum of risk that documents, across four decades of AIDS, the outlaw risky sex practices (anonymous, Bathhouses, cruising, public sex) that have thrived in every era. I use this concept as a way to understand a collection of practices that argue against industrial mitigations of risk and the normative and gentrifying impacts these mitigations produce: communities of Banality and compliance. Through examination and material production of art that responds to risk in AIDS and queer creative and sexual practices, I conclude that practices and processes of making and responding to art create an escape from the precarity of sexual marginalization, homonormativity, and gentrification. ii Risky Beeswax is dedicated to RoBert Flack (1957-1993), his eternal cosmic love machine, his theatre of Blood, and his love magic. “I was flakey Before it was fashionaBle.” — R. Flack iii Acknowledgements This project was patiently guided through the illuminating supervision of Cate Sandilands, who not only helped me find my way through Both fecund literary pathways and (often) perplexing institutional intricacies, and also supported my teaching oBjectives. Cate’s advice, dedication, and support was unwavering and I will always hold her generosity of spirit, commitment, and intellect in the highest esteem. It was a pleasure to learn through Sarah Flicker, who shared invaluaBle insights and saluBrious energies. john Greyson’s vital artist’s perspective and extensive experience in AIDS and queer activism was crucial to the growth of my research and my creative interventions. My journey through the Faculty of Environment and Urban Change (née Faculty of Environmental Studies) was made more transformative By a numBer of colleagues and associates, including Susan Agada, josephine Campanelli, Leesa Fawcett, julia Fursova, Colleen Kaiser, Barbara Rahder, Sharrieffa Sattaur, Indra Singh, and Anna Zalik. It is important, for me, to also acknowledge some of my students who made my experience in FES exciting and nurturing — including Adeye Adane, Chevonnie Bailey, Blacksmith Ben-Moodie, Ammon Cherry, Lauren Graham, Viviane Kirby, Alyssa Marchese, Savandhi Silva, Saïd Talani, and Nathi Zamisa. There are a numBer of artists, Businesses, colleagues, conditions, friends, and organizations that must Be acknowledged here: Art Metropole, Anthea Black, The Black Eagle, HandleBar, RoBert Bolton, Coil, the disco, The HIV Howler, Peter HoBBs, Stephen HoBson, InvisiBle City, The Little jerry, Yoko Ono, Suzanne Paddock, Lee Scratch Perry, Rajesh Pishardy, Barbara Rauch, The RoBotic Kid, Séance-Centre, Roy Schuurhuis, the sky, Darien Taylor, The Toronto Compassion Centre (TCC), Toronto People with AIDS Foundation (PWA), Ann Unger, Patricia Young, and jessica WhitBread. Deepest love and thanks to Thomas del Pozo and Roland for keeping my heart in a safe place. iv TABLE OF CONTENTS ABstract ………………………………………………………………………………………………………….. ii Dedication ………………………………………………………………………………………………………. iii Acknowledgements ………………………………………………………………………………………….. iv Introduction ……………………………………………………………………………………………………. 01 Chapter One: Theory ………………………………………………………………………………………… 21 DeBates and Key Points ………………………………………………………………… 30 I Want More ………………………………………………………………………………... 33 Biopolitics …………………………………………………………………………………………….. 38 Ethics …………………………………………………………………………………………………… 60 Risking the Personal ……………………………………………………………………………….. 76 Chapter Two: Method ……………………………………………………………………………………….. 92 Participant Comprehension and Participant Sensing ……………………………………. 96 Interviews ………………………………………………………………………………………….… 106 The Questions ……………………………………………………………………………. 111 Vinyl/Video: For the Record ……………………………………………………………………. 112 Chapter Three: Participants ……………………………………………………………………………… 128 Participant Selection Rationale: Recruitment, Outreach, and PosterVirus ……… 130 Participants …………………………………………………………………………………………. 135 Alan Belcher ………………………………………………………………………………. 135 Anthea Black and jessica WhitBread ………………………………………………. 138 Faizal Deen ………………………………………………………………………………… 143 Onya Hogan-Finlay ……………………………………………………………………… 146 jessica Karuhanga ………………………………………………………………………. 148 Shan Kelley ………………………………………………………………………………… 150 Tim McCaskell …………………………………………………………………………….. 153 Simon Muscat …………………………………………………………………………….. 154 Conclusion ……………………………………………………………………………………………. 158 Chapter Four: Variations on Themes of Risk …………………………………………………………. 159 Map …………………………………………………………………………………………………….. 160 Themes ……………………………………………………………………………………………….. 161 Theme I: Risking the Personal ………………………………………………………... 161 Summary ……………………………………………………………………………………. 179 Theme II: Sexual Ecologies …………………………………………………………….. 181 Summary ……………………………………………………………………………………. 195 Theme III: Art, Artistic Practice, and Risk ………………………………………….. 197 v Summary ……………………………………………………………………………………. 215 Theme IV: HIV/AIDS, Its Intersections and Risky Representations ………… 217 Summary ……………………………………………………………………………………. 222 Conclusion ……………………………………………………………………………………………. 223 Chapter Five: Risky Listening …………………………………………………………………………….. 224 Risking the Personal ………………………………………………………………………………. 226 Sexual Ecologies …………………………………………………………………………………… 226 Art, Artistic Practice, and Risk …………………………………………………………………. 228 AIDS, Its Intersections and Risky Representations ………………………………………. 229 Chapter Six: Becoming Sound Through Soft SuBversions ………………………………………. 231 AIDS Playlist ………………………………………………………………………………………… 234 Citing the Sonic: An Ethical Guide to Sonic Source Material …………………………. 237 The Sound and Importance of High Theory ……………………………………………….. 240 Risking the Personal ……………………………………………………………………………… 245 Sexual Ecologies …………………………………………………………………………………… 249 Art, Artistic Practice, and Risk …………………………………………………………………. 253 HIV/AIDS, Its Intersections and Risky Presentations ……………………………………. 260 Visualizing and Writing Lucid Dreaming Ludic Waking ………………………………… 263 Conclusion ……………………………………………………………………………………………………… 267 Works Cited ……………………………………………………………………………………………………. 277 vi 1 Introduction AIDS, art, sex, and risk. My body is on record. In this work, I explore (and record) the productive possiBilities of risk in AIDS, art, and sex in two primary ways: 1) I examine the artistry and activism of cultural producers who have responded to the AIDS crisis historically and into the present, and 2) I respond in sonic form. I use four central themes that emerged through interviews—risking the personal; (ludic or radical or risky) sexual ecologies; the human immunodeficiency virus (HIV) and acquired immunodeficiency syndrome (AIDS), their intersections, and risky representations; and art, artistic practice, and risk—from multiple perspectives.1 The work culminates in a series of audio and visual productions that take up and respond to these ideas in order to make the case for the ludic possiBilities of a new queer sexual ecology/citizenship that emBraces (rather than controls) risk. Through deliBerate engagement with wordplay, disco, and dance, I argue that arts practice- oriented expressions and understandings of sexual risk that respond to and transcend HIV/AIDS industrial mitigations of risk in the mainstream must keep pace and engage with the persistent and evolving narratives of risk in the sexual practices of men who have sex with men (MSM) specifically and AIDS in general.2 Like many queer thinkers/fuckers Before me, I imagine sex as 1 As Giovanna Di Chirro writes, “[i]n environmental studies, the term ‘ecology’ […] describes the weB of relationships and interconnections among organisms and their ‘homes’ [and] Thinking of the Body as home/ecology
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