interment and material integration. One could say he tends the ground on which an “affective community” between figures like Jarman and Oh can emerge. These figures may have been separated by distance, culture, and language but are brought into posthumous relation through the mediation of the contemporary artist for whom their creative contributions, their anti- normative lifeworlds, their experiences of illness, and their untimely deaths remain resonant. Another such figure is relationally revisited in The Heart of A Hand . Goh Choo San (1948–87), the internationally accomplished Singaporean choreographer, also died from AIDS related complications. Lee proposes a collaborative reinterpretation of one of his works for the American Ballet Theatre, by means of a staged performance conceived and executed with Joshua Serafin, Nathan Mercury Kim, and the composer KIRARA. This quartet produces for the camera a performance and animation that also engages references from Goh’s transnational queer contemporaries, including the writing of Xavier Villaurrutia and the paintings of Martin Wong. The profusion of materials, media, and genres contained in the resulting work embodies Lee’s method of presenting archival fragments and artistic (re)interpretations using an energetic and immersive montage. An energetic montage of text, color, and sound also describes Tony Cokes’ approach. Displaying a certain economy in terms of production value and display format, Cokes’ SM BNGRZ 1+2 (2021), made in the wake of Covid-19 lockdowns and restrictions on gathering and travel, asserts the necessity of togetherness, movement, and contact between (queer black) bodies as acts of resistance,
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