This interactive video performance installation features a three-minute video loop in which nude bodies appear posturing, gesturing and gyrating for seconds at a time, then fade away; a motion sensor allows participants to modify this landscape of dreams where the bodily layers are a phantasmagoric exploration of queer desire and imagination, illusion, visibility and impossibility.

Clitoral Amoeba is a sculpture of the artist's discarded girls' panties sewn together by the holes to render them unwearable. Previously worn by the artist when Buzz identified as female, the underwear is repurposed to take shape as an amorphous creature of the sea, nucleus, or other biological realm.

Tiers on My Pillow, a tiered wedding cake, is cut open to reveal the interior of a dollhouse, as a moving image is played from its spinning bottom tier. The thickly-iced exterior of the cake can be licked by viewers, enacting a sense of group pleasure and decadence. Shrunken images and queer and trans doll figures contained in the interior of the cake use scale to play with alternative reality. Dolls rest in a large bed atop the cake, signifying the extendedness of "chosen families" in queer social structuring. By playing with the dollhouse, viewers can embody non-normative dollhouse characters and to measure playful imagination against socialized expectations of straight time. The traditional symbol of the wedding cake is used to reframe what "forever" can look like, an architectural structure meant to represent queer decadence and polyamorous social structures.

Using visual and sound elements from The Ring Our Way, a ten year work in process by Jack Waters & Peter Cramer that culminated in a performance at MIX NYC in 1992. The selected material is culled from media that was never edited into the three stand-alone screening segments of the work, from material that functioned as live "B roll" in the performative multi media realizations, and from inspirational material such as studio photographs, and unreleased publicity stills from various performances of the cycle. Some visuals are manipulated to alter the figurative/narrative association of the Wagnerian context as romantic signifiers, while other elements are subtile extant remnants of their intended origin. The sound is a modification of the Wagner score following the vibrational tone physics inspired by musical/acoustical experiments of André Azevedo. The acoustic/sonic experiments of Einstein and Tesla are referenced.
Vignettes will be played on the small screens of recycled digital players; mini TV, ipod, iphone, Treo 650 dispersed throughout the space under floorboards, behind walls, to be nearly undetectable. The sound of acoustic element will function as the clue to finding the visuals as viewers may follow the sound during viewing hours. During screenings ear phones will be supplied so as not to interfere. The headsets are also available optionally for viewers who want to hear the audio unadulterated from the ambience of the venue.
Abstractly harnessing the homoerotic themes of ideal racial supremacy transposed to Riefenstahl's Massai photo shoots and James Dean photoplay stills; and the others in various performances (culminating with the Anthology Film Archives performance) with Cramer’s Siegfried opposite Jack Waters’s Brunhilde in drag where reading of sexual and racial idealism becomes ultimately transparent with the accidental removal of Brunhilde’s wig before a knowing winking audience at the line “Das ist kein man!” (“that is no man!”).

Transar in Cityscapes is about subverting specific architectures in the urban landscape through lesbian intercourse. The background is the building where we chose to have sex. The foreground is our bodies. The camera is subjective. Built by and for the patriarchy, the churches, the museums and all kinds of government buildings are part of the architecture of the oppression and domination that we intend not only to transgress and transform but also to dissolve and cancel. We use sex as a revolutionary process leading to social mutation and metamorphosis of masculine and feminine and believe the orgasm is a culminating platform that opens consciousness and destabilizes the established order… it literally fucks all kinds of institutions. — AV & IN

While the carnal desert winds brush your face with Arabesque in the main screening room, come to the Shrine to Francois Sagat and pay your respects to the ink-scalped spirit of the New Leading Man, as he manifests upon a blank human effigy that some call mannequins, that other vehicle for want. Be sure to leave an offering and you might receive an uncut, upwardly-curved boon.

Buck & Bucky is an experimental science-fiction epic mixing narrative elements with experimental film practices to produce a ritualistic psychick experience. In the film, two couples, one black & one white, communicate through space & time, ritualistic sex & DNA evolution to create the alchemical pandrogyne, moving humanity to its next stage of evolution, a world without tears. Divided into chapters based on writings from Frenchman Georges Bataille's Story of the Eye & Into the Blue, Buck & Bucky is an alchemical space odyssey, and an ode to the Aeon of Horus of Thelemic lore. Original soundtrack recording by Solar Skeletons, Tzii, Hathor Kyrhiaria & Orillia Opry. Additional soundtrack elements by Amon Duul II, Goliath & Pink Floyd.

Using text from company slogans and ad campaigns, Consumer Onanism takes their commands one step further and interprets them as literal masturbatory messages aimed at fueling and inciting self-exploration. A series of four thirty-second videos looped on an ipod touch, intercutting between masturbation and company commands/ad campaigns that flash in three-second intervals.

"What's better than roses on a piano? Tulips on your organ!" -- comic James Coco (a Liberace riddle)

Slip inside Coco Rico's queer portal and prepare to be transported to an alternate universe where perversion and political agency converge with a big BANG. This multimedia installation features an environment constructed from prisms of color, light, and experimental video. Curiosities include Milky Coconuts, Pussy Caviar, and Transanimal Foreplay. The installation space will be activated throughout the MIX Festival by sporadic performances with Coco Rico and other queer visitors, including Nako Tako.