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In the 1980s and 1990s, amid the growing visibility of issues such as gender inequality, LGBTQ rights, and queer politics, performance art became an important medium for protest, expression, and catharsis. Ron Athey, Karen Finley, and Ron Vawter, among others, exposed themselves physically and emotionally in works that ranged from darkly funny to heart-wrenching to enraged. They each used their performances to tell stories about personal experiences, revealing intimate details of their lives to reflect on larger issues affecting the country, including the HIV/AIDS epidemic and LGBTQ persecution. The pieces they created offered bold, sometimes visceral representations of sexuality, death and dying, and social justice.

Taking a distinctly progressive stance, the Walker Art Center championed these individuals and their desire to address politically charged or taboo topics through programs such as Cultural Infidels and Dyke Night. With materials drawn from the Walker’s archives, A Different Kind of Intimacy explores these groundbreaking series, highlights several noteworthy performances, and discusses both the support and critique these artists faced—providing a renewed understanding of this radical moment in performing arts history.

Changing installations in the Best Buy Aperture highlight materials from the Walker Collections and Archives & Library.

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A Different Kind of Intimacy: Performance and Protest in the Era of HIV/AIDS

A Different Kind of Intimacy: Performance and Protest in the Era of HIV/AIDS

A Different Kind of Intimacy: Radical Performance at the Walker, 1990–1995, a research exhibit recently presented in the Walker’s Best Buy Aperture, drew upon the history of radical and queer performance programed at the Walker Art Center to explore various ways artists responded to the AIDS pandemic, conservative censor, and homophobia. Exhibit curator Gwyneth Shanks argues that when confronted with AIDS’s mounting death toll, the "liveness" of performance took on newfound urgency and meaning for artists. To be in embodied co-presence was a means of asserting the political imperative of proclaiming one’s life—one’s liveness—as valid.
Patrick Scully on Performance, Protest, and Queer Politics

Patrick Scully on Performance, Protest, and Queer Politics

This wide-ranging conversation between Patrick Scully and Gwyneth Shanks, curator of A Different Kind of Intimacy: Radical Performance at the Walker, 1990–1995, a new installation in the Walker's Best Buy Aperture, explores the performance practices of the era. Shanks recently sat down with Scully, a longtime performer, presenter, curator, and activist in Minneapolis, to discuss his collaborative 1995 performance piece Unsafe, Unsuited, his role as the founder of Patrick's Cabaret, and the broader aesthetic and political landscape of the US in the early 1990s, as the cultural wars and the HIV/AIDS epidemic raged.

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