Artistic research is slippery and hard to narrate. Artistic questions are often hard to describe. Right now, I find myself compelled primarily by worries.
I am worried about the loud, and growing louder, aggression and violence against Muslims in the US.
I am afraid of the ease with which racism can be mobilized.
I’m concerned about the calculated collapse of various constructions of enemy: e.g. Muslim, black president, queer.
I am troubled by the reduction of queer politics to same-sex marriage equality.
I am wondering whether anyone is interested in a re-engagement in the radical possibilities of difference over assimilation.
I want to speculate about how that might be possible.
I want to guess at another approach.

Sharon Hayes and Pauline Boudry are artists who engage strategies of anachronism, temporal displacement, and transtemporality to create proposals for the embodiment of queer subjectivity. For Propositions, they will discuss these strategies in relation to current social, cultural, and political landscapes:
Can and/or how do you forge affiliations with past texts, past dances, past speeches?
Can and/or how do you collaborate with people from other moments in time, friends from other decades or centuries?
Can and/or how do you make a queer future?

Sharon Hayes’s work moves between multiple mediums—video, performance, installation—in an ongoing investigation into the interrelation between history, politics, and speech. She employs conceptual and methodological approaches borrowed from practices such as performance, theater, dance, anthropology, and journalism. Her latest work, Parole, was shown in the 2010 Whitney Biennial and her large-scale performance and installation piece, Revolutionary Love: I am Your Worst Fear, I am Your Best Fantasy, is currently showing in Greater New York at P.S.1/MoMA. Hayes is an Assistant Professor at the Cooper Union. You can find further information about her work at shaze.info.
Pauline Boudry is working as an artist and a musician. With her band Rhythm King and her Friends she intensively toured and produced several records. As an artist she collaborates with Renate Lorenz in film, video and installation. Their works often revisit practices and materials from the past, usually photographs or films, referring to and excavating forgotten moments of queerness in history. Their works show bodies which are not only able to cross different times, but also to draw relations between different times, thus revealing possibilities for a queer futurity. Understanding that the past has a formative but also performative nature, this method underlines that “rather than being static and fixed, the past does things.” (José Esteban Muñoz)