We live in times where Internet and social media rule our lives. Gays have embraced online dating and beyond a casual hook up, for some our online profiles and exposed body feed our narcissistic and exhibitionistic side, while for others is an endless voyeuristic hunt. PIX is a series of flickering images (faceless-selfies) of 2500 gay men building a three minutes animation portraying what is happening in the “marketplace of desire”. Thousands of male bodies in typical male poses are put together creating the mosaic of one body.
A mirror, an exposed torso and the promise for NSA fun have become the synonym to today’s gay behaviour with dating. But is that the rule or just a temporary -even necessary- phase into a gay man’s life? Does this gay on-line behaviour help for better communication or does it isolate homosexuals from the “normality” gay men try to achieve all these years? Is the need to connect emotionally been taken over by the need to push on the “load more guys” button?
No three-minutes animation can answer these questions for you. Only you can, starting the next time you pose in front of the mirror.
In Their Room
"For the second in his In Their Room series, filmmaker Travis Mathews advertised for gay men in Berlin who would be willing to share their most intimate moments and feelings with his camera. The resulting film ruminates on the cyclical nature of relationships, finding some loneliness, some coupled happiness, and some cautious possibility in the naked lives he encounters.
Voyeuristic but unacknowledged, In Their Room Berlin carelessly straddles the boundaries between documentary and fiction. It might be hard for some to understand how these men could allow these parts of their lives to be exposed, but the ultimate point of the film seems to be to highlight the fluidity between sex and the rest of daily life – something that mainstream films work against with their general glamourisation and seclusion of sexual interactions. The encounter between two of the men that consumes the second half of the film is far sexier for its bare ordinariness, and for the manner in which the pair shift between erotic and humourous.
In Mathews’ filmmaking, there is a refreshing embrace of the entire body – he cuts to a close-up on a bottom as other filmmakers would to a face. He is focusing on a certain section of sexual culture and there is obviously an aspect of eroticism in the way he films the most intimate moments. But this undoes the ingrained mode of narrative filmmaking where life becomes compartmentalised, and sexual freedom implicitly suffocated. In these Berlinian rooms, these men use their entire bodies to live their lives.”