e palpable the fragility y don’t mak , is that the Video , . On the contrary and scarcity of what remains erial. xcess of mat they confront us with an e Tiravanija filmed the poet John Giorno in his reading and performing his writing ork loft, New Y , for over more than y apparent order without an t of their video es par . P. Staff locat ten hours ge ers the lar in the Los Angeles house that shelt . s erotic drawings om of Finland’ archive of T erior, furnished es a calm int er observ The view es, a space which xed archiv es of bo with shelv also functions as a residence for a small queer xuberance of , the e . In both cases community While material might be described as contingent. y an illness that killed his friends ouched b directly t . tunately escaped the virus and lovers, Giorno for ere es w . His archiv He wrote until his death in 2019 en ry, as happened so oft not discarded in a hur as buried at veryone w e 1980s when e in the lat as already in his . Tom of Finland w the same time ork, or of an immense body of w , the creat sixties ere first described as a when cases of AIDS w However, with John Giorno “new disease” in 1981. ter of profusion is not a mat om of Finland, and T . The plenty is inscribed in ance historical circumst ords, texts, . A plethora of w their artistic practice . Promiscuity xual scenes , men, and se images e ays. “Nothing succeeds lik in all possible w o read in excess,” says a poem Giorno chose t y ered b ely count Tiravanija’s film (a claim immediat e “Nothing recedes lik ’s famous silkscreen, Giorno ”). success ote, , art critic Douglas Crimp wr In 1987 .” He “How to Have Promiscuity in an Epidemic xual was concerned with the defense of a se , straight and tacked by public figures culture at
. Ann Arbor ersity of Michigan, orian. He teaches at the Univ is a hist
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