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I like that the conversation is started,” writes one person. There are over 1,000 comments, a mix of support and condemnation.
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One month after it was posted, the video has nearly 200,000 views on YouTube. Kutoto says she has received threats via social media. The actors featured in the video are in hiding. There have been mob attacks against LGBT individuals in Kenya in recent years, according to activists. Homosexual acts are illegal in Kenya, punishable by as much as 21 years in prison. So we were just trying to raise their voice, create their awareness in Africa.” “Everybody has to have the freedom to do whatever they want to do, marry whoever they want to marry. “We decided to do it because these people exist, they have associations, they get married but they are afraid to come out because the society would judge them and condemn them and everything,” says Kutoto, who sings the hook for the song. One of the men commits suicide at the end, leaving a note that reads “Tired of the pain, tired of the stigmatization…Wish I wasn’t born this way.”
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There are brief bedroom shots and scenes of daily life, like the two women cooking together in the kitchen. It features two love stories: one between two men and another between two women. The content of the video is perceived as nothing short of scandalous in Kenya. I feel you,” says Kenyan rapper and producer Art Attack at the start of the video. “This song goes out to the new slaves, the new blacks, new Jews, the new minorities for whom we need a civil rights movement, maybe a sex rights movement especially in Africa, everywhere. There is no mistaking the video’s message. Kenyan recording artists Art Attack and Nicole Florence Kutoto released the video for their “Same Love Remix” on YouTube on February 15. The song is a remix of the American single “Same Love,” released in 2012 by Macklemore and Ryan Lewis at the height of the same-sex marriage debate in the United States. Conjuring a world on the cusp of AIDS, “The Piers” also makes present another dimension of its subject, long since vanished: bodies conversing and cavorting, laughing and looking.Kenyan state regulators have banned a locally produced song and accompanying music video that call for equal treatment of LGBT individuals, something regulators say violates Kenya’s anti-homosexuality law. Straddling high and low, this exhibition departs from the Reina Sofía’s 2010 “Mixed Use, Manhattan,” which focused largely on physical landscapes of abandonment and decay “The Piers,” by contrast, evokes a mode of sociality. Often, as in the case of Seccombe, Peter Hujar, or Ivan Galietti, photography serves as a medium unto itself.
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Leonard Fink’s Tava Mural Pier 46, 1980, captures a scene of a bawdy satyr and human man that Tava (Gustav von Will) painted on a derelict wall, as well as, next to the painting, two men jerking each other off in a corner.ĭue to the disappearance of many works, or their excessive dimensions, photography is used to evoke other media, whether architectural interventions, performances, film productions (such as Frank Hallam’s Filming Pompeii New York, 1982), or casual encounters. Shelley Seccombe’s Sunbathing on the Edge, Pier 52, 1977, records not only individuals lounging on the side of Pier 52 but also Gordon Matta-Clark’s Day’s End, 1975, sliced out of the pier’s wall. Stanley Stellar’s Peter Gets His Dick Sucked, 1981, for example, records an act of fellatio in the background, while in the foreground a half-naked man leans next to a drawing by Keith Haring of two men with erect penises. Many of the photographs here fittingly reflect that instability. Assisted by Darren Jones, and informed by a decade of archival research and interviews with artists, “The Piers” assembles a compelling constellation of images, evoking not only a vital dimension of New York’s East Village art scene, but the social and sexual contexts with which it was bound up.Īs the exhibition makes clear, it often proves impossible to tease the erotic and the aesthetic apart. Re-creating the sensation of the piers along Manhattan’s West Side Highway––sites, during the 1970s and ’80s, of burgeoning artistic activity and a thriving gay subculture––provided curator Jonathan Weinberg with a daunting task. “The Piers: Art and Sex Along the New York Waterfront”