1 In an ironic twist that largely informed your curatorial intervention, you proposed what you called “urgent revisions” to this manifesto, simply replacing freespace by the term cruising. Used in the curators’ manifesto as the cornerstone of architecture’s putative tension towards indeterminacy, the notion of ‘freespace’ seemed to foreground a deeply liberal account of freedom, conceiving it in essentially negative terms (that is, freedom conceived as the liberation from constraints). GB: In Venice, the Cruising Pavilion aimed to break into the famous biennale, notably challenging the notion of ‘freespace,’ chosen as the main theme of the entire exhibition that particular year. “Cruising freespace manifesto”, for Cruising Pavilion, Venice, 2018. Besides the exhibitions, we also have participated in various talks and events along the way and are thinking of gathering everything into a publication after the show in Sweden. The third and last one will open in September 2019 at Arkdes, the Sweden’s National Centre for Architecture and Design, located in Stockholm, after an invitation by curator James Taylor-Foster. The second edition took place this winter 2019 in New York City at Ludlow38, the Goethe Institute gallery, after an invitation by curator Franziska Wildförster. The richness of the topic and the positive response we received convinced us to transform the project into an exhibition trilogy, with each edition taking place in a different city with different works. The Cruising Pavilion was initially the name of this exhibition, which showed the works of over 20 artists and architects inside the warehouse-like project space Spazio Punch on Giudecca. The group came together around the first exhibition we organized at the Venice Architecture Biennale 2018. It is led by four friends: artist Rasmus Myrup, architect Octave Perrault, and the curator duo Charles Teyssou & Pierre-Alexandre Mateos. Rasmus Myrup: The Cruising Pavilion is a curatorial project focusing on gay sex, architecture, and cruising cultures.
![cruising room gay sex game cruising room gay sex game](https://tn.thegay.com/contents/videos_sources/930000/930735/screenshots/1.jpg)
![cruising room gay sex game cruising room gay sex game](https://static2.gay0day.com/contents/videos_screenshots/30000/30878/preview.jpg)
Glass Bead: First things first: What is the Cruising Pavilion?
CRUISING ROOM GAY SEX GAME HOW TO
In other words, how to exhibit subversion? The following conversation discusses the parallel and sometimes contradictory lines between the way cruising cultures are meant and seen to be challenging architecture, and the ways in which darkrooms and white cubes can be read as opposite spatial types. Beyond its subversive origins in the Venetian context, the growing institutionalization of this project underlines the importance of a question that, in fact, has been raised from the outset: how to deal with the contradiction of wanting to expose practices that, most of the time, have emerged and continue to develop against and despite a public view from which they are trying to escape. While each of these shows is entirely different, they all pursue the same goal: exploring the many ways in which cruising practices have challenged and continue to challenge architecture-whether urban planning, established architectural discourses, or the conception of public spaces. Initially conceived as an uninvited exhibition focusing on homosexuality and cruising cultures at the 2018 Venice Biennale of Architecture, the Cruising Pavilion has since mutated into a curatorial project, which, after a second show held in New York last winter, is preparing a third one this fall in Stockholm, at the National Museum Architecture of Sweden (This interview took place before this third show opened).