Maria Katharina Wiedlack, Punk Rock, Queerness, and the Death Drive (unpublished manuscript), 1–41. Internal quote from Elizabeth Povinelli, “The Part that has No Part: Enjoyment, Law and Loss,” GLQ: A Journal of Lesbian and Gay Studies 17(2–3) 2011, 288–308.
I would like to thank Kathi Wiedlack, who inspired me to write this article. In her in-progress dissertation Punk Rock, Queerness, and the Death Drive, she confronts Lee Edelman’s No Future with queer punk lyrics and subcultural practices. Offering a profound rereading of Edelman’s Lacanian-based antisocial thesis, she concludes that punk negativity can lead to a form of queer sociality without subscribing to fantasies of coherence, reproductive futurism or losing the pleasurable threat of jouissance from its desires.
“Chewing the Scenery” Venice Biennial 2011, Swiss Off-Site Pavillion, (June 1–October 2 2011, Teatro Fondamenta Nuove), curated by Andrea Thal, →.
See note 1.
Lee Edelman, No Future: Queer Theory and the Death Drive (Durham, NC: Duke University Press, 2004).
José Esteban Muñoz, Cruising Utopia: The Then and There of Queer Futurity (New York: New York University Press, 2009)
Ibid., 75.
Ibid., 169.
This quote is borrowed from Derek Jarman’s film Jubilee (1977).
The term is coined by Elizabeth Freeman in her book Time Binds. Queer Temporalities, Queer Histories (Durham, NC: Duke UP, 2010). Pauline Boudry, Renate Lorenz (eds.), Temporal Drag (Ostfildern: Hatje Cantz 2011).
Judith Butler, Undoing Gender (New York: Routledge, 2004).
Renate Lorenz, Queer Art. A Freak Theory (Bielefeld: transcript, forthcoming).
Pauline Boudry, Brigitta Kuster, Renate Lorenz (eds.), Reproduktionskonten fälschen! Heterosexualität, Arbeit und Zuhause (Berlin: b_books, 1999).
Teresa de Lauretis, The Practice of Love. Lesbian Sexuality and Perverse Desire, (Bloomington, Indiana: Indiana UP, 1994).
Renate Lorenz (ed.), Normal Love. Precarious Sex, Precarious Love (Berlin: b_books, 2007).
For more detailed elaborations on the following, see Antke Engel, “Chewing the Scenery–Reading the Cud” in Chewing the Scenery, ed. Andrea Thal, (Zürich: edition Fink, 2011), 1–6 and 29–31.
Wiedlack, 19.
This set-up alludes to Andy Warhol’s film The Life of Juanita Castro (1965).