#because i now have free time!! what a fucking revolutionary concept i am Obsessed <3

[mossflower]

i’m freeeeeee!!!!

[bethsuglywigs]

top 5 tropes

1. Canon Divergence 

Cross Your Fingers, Be It Fahrenheit or Centigrade, and Warm in the Fire of Us by @pynkhues

I don’t think I need to sell anyone on Sophie’s work because it’s well established that she provides high quality content. fortunately for me, she also likes the same tropes as me so i stay well fed. 

CYF: a post-s2 fic dripping with angst and criminal activity. the scene where rio interrupts beth’s date lives rent free in my head. 

BIFOC: set during s2, rio is sick 😷 and beth plays nurse 👩‍⚕️ ... god tier scenario 

WITFOU: set during s3 (aka brio’s angst era) lets just say... clean like him changed me on a spiritual level  (inspired the forbid blow job 👀)

a song inside the halls of the dark by @mego42

this fic as everything: a road trip, beth committing murder, crafts, several near death experiences, brio sexily not communicating, find my friends, AND pta moms interacting with brio... like what more could you ask for in a sprawling post-s2 fic? a must read imo 

Good Sport by fireinsideforfun

i know you’re all ARC stans so I don’t need to tell you that fiff is a good writer. but what I am hear to say is that Good Sport is a slept on fic (pun intended). brio bed sharing and not communicating my beloved. 

for a moment we were strangers by openhearts

this is fic is iconic for fully embracing beth and rio’s age gap (41 v. 29)... openhearts said cougar rights. but also this fic is a fun little brio playing house fic and i just can’t get enough of it 

I Put A Spell On You (and now you're mine) by @sdktrs12

um hellooooooooooo halloween 🎃 prompts my beloved. 

2. Hate Sex

your monster looks like mine by mego42

this fic is about having hate sex on drugs..... das it baby 🥵

satisfied through the weekend by @septiembrre

the show gave us brio having sex while beth is on a date with her husband (iconic, revolutionary, etc), but Gaby one-upped them and gave use up brio having sex while beth is on a date with the hitman she hired to murder rio... i have to stan 

As Good As This by @riosnecktattoo

wire sex - i simply love betrayal 

Two Shoes by pynkhues

all you need to know about this fic is that brio do a job together that requires them to dance and then hide in a closet together (sexily)... the animosity and sexual tension is off the charts

I Will Collect You and Capture You by @foxmagpie

oKaY..... these clowns 🤡 are really at their worst in this fic. like please have a conversation im begging you (jk keep hate fucking and being angsty). rio fr thinks he can fuck beth out of his system, but all he can do is think about her when he’s with other women. literally down so bad in this one. 

3. Outsider POV/Interactions

Three Drops (an intermission) and If It Wasn't for All the Lights by pynkhues

these two fics inspired my own outsider pov fic... thats how influential they are. other people should NOT be forced to interact with beth and rio and yet... its so incredibly funny when they do. i would sell my soul for some more outsider pov fic i s2g. 

Choose Your Own Adventure by sdktrs12

if you’ve followed me for longer than 30 seconds then you know im a cyoa stan. the concept of beth and rio having to spend time with normal parents makes me insane. and they’re just so horny for each other, but in the woods and thats just so special to me.

listening through the air shaft by mego42

another iconic outsider pov fic. truly the dean pov chapter is incredible. like it was so incredibly big brained of meg to make Dean witness brio coming out of the  bathroom break bathroom together. transcendent really. 

AITA for wanting to stop paying my wife’s “business partner” and yelling at her? by @lemoncupcake

spoiler alert: he is the asshole 

PTA Vibes by greyish 

again i’m OBSESSED with the idea of normal people interacting with brio and being subjected to their insanity. and brio being on the pta together is inherently hysterical. 

4. School AU

delinquents, stunner, and I'll Fall If You Do by foxmagpie

queen of high school aus it has to be said. the high school teacher just JUMPS out and im obsessed. 

delinquents... my beloved... where to even begin? a must read for sure. i love this fic so much it inspired my entire fanfic fanart series. 

stunner: blockt for this one; intentional infliction of emotional distress law suit still pending 

IFIYD: i love two dummies with a requited crush on each other playing spin the bottle   

Both Sides of the Law by @joeyjoeylee

if you’re ever been to law school then you’d know that joey captured it perfectly. its the perfect au setting for brio because only insane people go to law school. thats just facts. this fic made me cry (real actual tears from my eyes) several times. 😭😭😭😭😭😭

QuikGrove University by sdktrs12

a staple in the brio college au category. just two college students having sex and committing crimes like god intended. 

watermelon sugar and Seven Minutes in Heaven by @querenaxx

ws: rio spends this entire fic with his tongue 👅 inside beth and i love that journey for him

smih: the title really says it all. and what im saying is that it needs a sequal as asap as possible.

Jawbreaker by riosnecktattoo

tay does simp rio like no one else... its the longing for me... (also rio sexily plays basketball)

Pre Season by @wakeupflawless

if you follow my main blog then you know im obsessed with soccer so of course a brio soccer au is going to be my bread and butter. they literally want to fuck each other so bad, but also, they want to beat each other on the field and that just feels so right.

Sliding Into Third by @fairhairedkings

baseball rio... das it baby... that’s all i need to say i think

A Special Kind of Business by CaptainCabinets

beth x rio x high school x drug dealing = incredible 

5. Very Brio Specific Sex (i.e. pool table, hot tub, desk etc.)    

Invitation to a Beheading by riosnecktattoo

they literally have sex next to a dead body (🥴)

Say It by riosnecktattoo 

desk sex with a twist bc its at boland bubbles instead of boland motors (cucking is cucking babes)

trade my heart for honey and now use both hands by mego42

tmhfh: antagonistic pool playing leads to fucking on the pool table 

nusbh: desk sex but they make it other peoples problem lmao

Lining Up the Shot  and Part of the Equation by brokensatellites

luts: he bends her over the pool table just like in canon, but its actually sexy

pote: hot tub sex like literally fucking in the hot bubbly water 

Show Me How To Get Offended by FakePlastikTrees 

hot tub sex, sex in the hot tub - its what we deserved but never got

your tongue told me every lie by carrythesky 

desk sex on THE boland motors desk... 😌

Salty Sweet by foxmagpie

desk sex but beth is sucking him off under the desk while hes conducting business 

[nofomoartworld]

Hyperallergic: “This Is a Revolutionary Moment”: Genesis Breyer P-Orridge on Intersectionality in Art

  Genesis Breyer P-Orridge, “My Funny Valentine” (2013), Expanded Polaroid, C-print mounted on Plexi, 48 x 47.5 inches, edition of 3 (image courtesy the artists and INVISIBLE-EXPORTS)

Intersectionality is a powerful reminder of our connectedness, but it has arguably lost some of its weight due to overexposure. Many art critics have coopted the word as a lazy syllable for identity politics, vaguely encompassing discussions of race, gender, sexuality, and feminism. Intersectionality can seem like another big word meant to hide the art world’s ugly essentialism — an impulse to sort artists into epithetic categories.

But essentialism be damned. The Intersectional Self at the 8th Floor Gallery shows that this big word is more than an empty container. Intersectionality has the power to unite people, if we let it — if we can appreciate its nuance. In this exhibition, Genesis Breyer P-Orridge invokes intersectionality to destroy the body politic. As the founder of pandrogyny, P-Orridge seeks the collapse of all senses of identity into one self, one total humanity. (Accordingly, P-Orridge speaks with the pronoun “we,” not in the royal sense, but in the sense of unity with his/her departed partner in pandrogyny, Lady Jaye. P-Orridge also prefers the pronouns s/he and h/er to further demonstrate that bond.)

Pandrogyny manifests itself in the artist’s work as simultaneously humorous and visceral. As the founder of hardcore industrial music, there will always be something inherently confrontational in P-Orridge’s work, if also political. For example, “My Funny Valentine,” on view at the 8th Floor Gallery’s exhibition, is a kaleidoscopic image of hearts made out of an ambiguous assortment of body parts. Are we looking up someone’s skirt? Are these pieces of flesh from someone’s backside?

Through h/er work, P-Orridge puckishly calls for an end to gender as a construct, and so, h/er participation in The Intersectional Self feels apt. I spoke to P-Orridge and the broader world.

*  *  *

Genesis Breyer P-Orridge, “Mousetrap” (2016), cigar press, tampons, meunstral blood, resin, brass, 24.75 x 15 x 5.25 inches (image courtesy Invisible Exports)

Zachary Small: How would you define intersectionality? Do you ascribe to that phrase? Is pandrogyny intersectional?

Genesis Breyer P-Orridge: To be honest, we are not 100% sure. But pandrogyny is a wide-ranging and contemporary concept. It’s outside the gender gap. Our view is that society’s real issue is with evolution. Historical (we prefer to say ahistorical) progressions in the human species have lead us to this moment where we either mutate or disintegrate. Our war has always been with binary systems. What do you think the intersectional self is?

ZS: I think intersectionality is also a relatively new concept in the same way pandrogyny is. And therefore, I think it is still being defined and redefined. But generally, I’d say it is identity at the cross-sections of socio-economic and political status, race ethnicity, gender, and sex. It can be many other things as well.

Genesis Breyer P-Orridge, “Gender is a Drag” (2011), mixed media, 14 x 11 inches

GBPO: Okay, so both intersectionality and pandrogyny address the problematic issues of the body, identity, and socioeconomics. How do they interact and what do they mean? For us, it’s also a spiritual issue, which is something contemporary art avoids. The origin of art goes back to prehistoric times when people didn’t know if the sun would come back the next day. Our idea of consciousness was still primitive, and there was a terrible fear of the darkness. That fear gradually gripped civilization, which required control. And there was a long period of about 3,000 years when everyone linked their individuality with the idea of perpetuating groups. It was about submission: submission to individuals in order to survive. But we are past there! The problem is that some people still want to maintain control. And while our environment has become more sophisticated and complex, our attitudes and social behaviors have been left behind. Now is the moment when we must regather our thoughts and say that it’s imperative to reintegrate ourselves with our minds. Why are we here? What do we want to do? How can our experiences and physical life rationalize the material world?

Those in power create wars to maintain their opposition. But this is a revolutionary moment, and we cannot revert to the ongoing distractions of a binary system. We need to take back who we are and write the narrative of our own stories. It’s about stripping away our inherited archetypes and our distracting issues to look at our solid bodies, our experiences amongst people. Who is writing my story? Who am I submitting myself to? Who am I forcing to submit? What is it that I truly wish to be? That’s where the real battle will be: Will we have an evolutionary thrust or stagnation?

ZS: As recognition of your work has only grown, how do you make sense of your own rise to prominence in a political climate that exceedingly wants to return to binaries?

Genesis Breyer P-Orridge, “Red Chair Posed” (2008), C-print mounted on Plexiglas, 56.5 x 72 inches, edition of 3 (image courtesy Invisible Exports)

GBPO: We are really depressed, to be honest. We were not surprised about Trump or his cronies. We looked at the situation and thought about the worst that could happen. And it happened. It was instinctive, intuitive. People have been distracted for so long; they’ve become narcissistic, obsessed with selfie culture, and entitled to information. When we realized that Trump would win the election, we turned to our friends. We grew up in the 1960s. We were part of the psychedelic revolution. We worked with Gay Lib Street Theatre. And we were involved in political action when homosexuality was finally made legal in Britain. We worked with squatter’s rights, animal rights. We worked against apartheid. And slowly, we saw common sense winning. People became more tolerant. It felt like a liberal expansion where people were left alone unless they were destructive. Now, it feels like we’ve returned to postwar austerity — an austerity of ideas and imagination.

We did all this work and for what? To be rejected by these idiots? It’s depressing but I guess we must do it again. We are in an amoral conundrum where the people left to fight, the youngest, have yet to wake up. There is an old but very usable saying given to us by a Native American shaman that says, “No attachments. No judgment. No expectations.” We must become all things that the current status quo is not: kind, respectful, loyal, and forgiving. We must do what the establishment does not expect us to and be good people.

Genesis Breyer P-Orridge (photo by Drew Wiedemann, courtesy Invisible Exports)

ZS: Right, because the bureaucracy can only understand so much. It makes me think of the idea of comedy as rebellion, and I sense elements of comedy in your work. Would you agree? GBPO: Oh, of course! One of the great disappointments of our career is that no one noticed our dark, sarcastic humor. I’m from Manchester — what can I say? — we are famous for our sarcasm. Looking back at the 1960s, you have the yippies who go to Wall Street and throw money into the pit. It’s still talked about because it was such a simple action that jarred everyone’s realities. The symbol worked beautifully, humorously. Anyone that wants to evolve a thinking culture must look for ways to avoid overtly aggressive work.

In the 1980s, there was punk and industry. We were so angry and trying to destroy everything. That was the right strategy against Reagan and Thatcher because it helped adjust the culture. But we cannot use that anymore. They know that. They’ve diluted it, coopted it with money. It’s the same with Hip-Hop. Where is Public Enemy now? Power tries to bribe you. Don’t be tricked. Think about what they are used to — anger, rage, demonstrations — do the unexpected. Be kind and thoughtful. Speak with a considered voice and explain how you feel so there is no excuse for them dismissing you. Anyone that wants to evolve a thinking culture today must look for methods that shy away from overt aggression.

ZS: Do you think the art world has cultivated a thinking culture?

GBPO: No. What’s really depressing for us is how long the art world has followed in the shadow of the Young British Artists. Initially, they were smart, funny, and clever. “We hate art and there it is.” But now everyone wants to brand themselves that way. They aren’t thinking about content. Art must have a story, comment, some kind of information that you can take away. That’s the definition of art: creation.

Genesis Breyer P-Orridge, “Perfecting, undated,” mixed media, 14 x 11 inches

ZS: You’ve talked about pleasure as a weapon. What does that mean and how do we use it?

GBPO: When you make art, it’s implied in the content. Same with music. As an attitude, I see pleasure as an attempt to create a blank slate each day. One good way to do that is changing your name. That new person is just a name, and then you can say, “Who is this? What are they like? What do they do?” And that’s what we did. We invented Genesis. What happened to Neil? [Laughs.] Neil is the artist and we are the artwork that Neil made. We still exist but where the fuck is Neil?

ZS: Where is Neil? Does Neil ever come out?

GBPO: No, no. God knows where Neil is. We should make a tattoo saying, “Copyright: Neil Andrew Megson.”

ZS: “Have you seen Neil?” Put it on a milk carton.

GBPO: Put it on my leg! You see, we’ve created another little comment. It’s got humor but it’s saying something important. You can deconstruct yourself and become the truth, the author of your own narrative. Once you do that, every day becomes a story. You are free to decide your life.

ZS: Thinking about these ideas of reaction and resistance for queer people, I wonder what’s possible. If the pandrogyne is an intersectionality, a third being, does that also mean there’s a third world out there solely for queer people to inhabit?

GBPO: Oh God, there are infinite worlds. Anyone who’s taken acid will tell you that. If you can swallow a piece of paper and the world vanishes … We live in a moment when there are so many options to demonstrate our own perceptions. We need to give that ability to other people. Imagine humanity like a single living organism, maybe an amoeba. When the amoeba gets damaged — what’s the organism do? It marshals its resources together and heals itself. If the human species is one organism, and we believe it is, then we are all cells of a singular being. If everyone saw themselves as cells of the same organism, there would be no use for fighting. We could already be colonizing space by now! Curing illness! We could be that incredible species that maximized its potential and filled itself with love.

The Intersectional Self continues at the 8th Floor Gallery (17 W 17th St, Flatiron District, Manhattan) through May 19.

The post “This Is a Revolutionary Moment”: Genesis Breyer P-Orridge on Intersectionality in Art appeared first on Hyperallergic.

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