Glenn Walls – SUPER CREATIVE GRID

Massacre – Bodies the Matter: the mapping of queer violence in Sydney, Australia between 1970 and 2010

Published November 2024. Taylor & Francis. International Journal of Cartography.

https://www.tandfonline.com/doi/full/10.1080/23729333.2024.2419692

ABSTRACT

Between the 1970s and early 2000s, before queer visibility came to the fore in Sydney, many people living under heteropatriarchy developed ways to interact at queer sites. Unintelligible to the mainstream cultural imagination, the connections enabled by these sites allowed queer life to flourish. However, when they became known to other social groups the sites became epicentres of catastrophic violence, linked to 88 murders. Drawing on Vinicius Almeida’s (2022) concept of queer cartography, this article discusses an ongoing series of artworks titled Massacre – Bodies That Matter that challenges the heteronormativity embedded in urban space and highlights the violence inflicted on a marginalised group who during this period were fighting for their human right of recognition. Aided by religious organisations and institutions that denounced queer life as unacceptable to mainstream society, a collective of individuals and gangs took it upon themselves to rid society of this supposed abhorrent scrouge. In identifying forgotten queer spaces, mapping can explore the intersection of queer identity and violence. The article and artworks argue for the legitimacy of queer life, addressing the extent of violence perpetrated against the LGBTQI+ community in Sydney in the period discussed. This contributes to a more comprehensive understanding of the historical and spatial dimensions of violence against the LGBTQI+ community, which extends to a consideration of the reductive aesthetic language of modernist maps obscure a problematic relationship to identity and sexuality.

“Our blood runs in the streets and in the parks and in casualty and in the morgue 

Our own blood, the blood of our brothers and sisters, has been spilt too often … 

Our blood runs because in this country our political, educational, legal and religious systems actively encourage violence against us …” 

  • One in Seven Manifesto, Sydney Star Observer, April 5, 1991 (Sydney Star Observer, 1991). 

Keywords  

LGBTQI+ visibility, queer violence,  queer cartography,  Sydney queer hate crimes. 

Link to the full research paper below.

https://www.tandfonline.com/doi/full/10.1080/23729333.2024.2419692

Glenn Walls. Massacre (after Felix). Digital Print on 4 × A3 paper stacks. 2018/2024.

Cite this paper.

Walls, G. (2024). Massacre – Bodies the Matter: the mapping of queer violence in Sydney, Australia between 1970 and 2010. International Journal of Cartography, 1–22. https://doi.org/10.1080/23729333.2024.2419692

My life (The Failure of Modernism)

Posted in My Life (The Failure of Modernism) by Super on October 11, 2024

Glenn Walls. Untitled (Fierce bitch seeks future ex-husband, David McDiarmid). 2024. Bauhaus coffee mug, dollar notes, printed paper. Various dimensions.

Fierce bitch seeks future ex-husband is an artwork by David McDiarmid created in 1994.

Glenn Walls. Untitled (Choose Life, Herbert Bayer). 2024. Bauhaus coffee mug, dollar notes, printed paper. Various dimensions.

Glenn Walls. Untitled (Less is a bore. Consume more, Herbert Bayer). 2024. Bauhaus coffee mug, dollar notes, printed paper. Various dimensions. Less is More is a quote from German architect Ludwig Mies van der Rohe.

Glenn Walls. Untitled (Smalltown Boy, Herbert Bayer). 2024. Bauhaus coffee mug, dollar notes, printed paper. Various dimensions.

Smalltown Boy is a song by Bronski Beat released in 1984.

Glenn Walls. Untitled (Smalltown Boy, Herbert Bayer). 2024. Bauhaus coffee mug, dollar notes, printed paper. Various dimensions.

Smalltown Boy is a song by Bronski Beat released in 1984.

Super – Perfect Lovers

Posted in Super - Perfect Lovers by Super on August 17, 2021

Glenn Walls. Perfect Lovers. Mirror tiles, paint, vinyl floor, and chains. 2021

Glenn Walls. Perfect Lovers. Mirror Tiles, paint, vinyl floor, and chains. 2021

Pandemic Architecture

Posted in Pandemic architecture by Super on September 25, 2020

Glenn Walls. I think we fucked up. (Theo Van Doesburgh, Contra-Construction: project for a private house. Axonometric. 1923). Pencil on paper. 2020. 21 x 29 cms

Untitled (New World Order)

Posted in Untitled (New World Order Repeated) by Super on June 15, 2020

Untitled (New World Order). Silicone (in reality). 2020