The Queer Archive launches its Artshop - an online art gallery aiming to create a large international community of artists whose work touches upon queered or queer-responsive approaches to human existence or manifests meaningful queer interpretations.

“Life Guarding” is based around water metaphors, both in the track’s lyrics and in its visuals. It is a film-collage by Tillmans, edited by Michael Amstad, that explores shifts its lens “between micro and macrocosms, collages of body parts, fruit and insects, we find him equally paying attention to the waves of the Atlantic Ocean as well as to the ‘same’ water in the form of drops, evaporating on a hot kitchen plate”

KAVLA is an independent publication of The Queer Archive Festival involving LGBTQI+ artists of all creative backgrounds. Editors Konstantinos Menelaou and Helias Doulis invited artists, writers, poets and thinkers to participate in a queer dialogue of aesthetics and words and to ignite fresh and meaningful conversations around queer experience, art and culture.

To be willing to march into hell for a heavenly cause presents video works by artists that deploy music, sound, and storytelling to explore queer narratives. At the heart of the selected works is a desire to share personal experiences and public histories, and to broach ideas around sexuality and gender politics. The notion of performativity is evident in all the works, recalling the writings of José Esteban Muñoz and the utopian potential of the queer aesthetic and subject. 

Tethered is an amalgam of footage recorded from the online platform chatroulette between March and April 2020. It started as voyeuristic practice to witness how the pandemic could be (re)shaping these online channels of communication across the network and it became an exercise of critique on the concept of the saturated self (Gergen). In most cases, during the online visits to the site, the users were given the image of themselves, a sort of feedback of their own immediate reality.

George Striftaris' first tools come from his experience as an actor and casting director. It is this experience, imbued with his love for painting, that guides and defines his photographic art. Dedicated, simple, relentless, he manages to encapsulate in his images those dimensions of reality that we miss.

KRAXIMO was not just a magazine, but an event that really motivated the liberation, or rather the emancipation of an entire colorful world.

As long as we give our respects to all the cultures that have helped shaped the whole humanity, we're on the right path.

The diva is a pop cultural figure whose appeal and power lie in her vulnerability.  She is revered for the extreme emphasis and aestheticization of her pain.

Bathhouses were initially places for gay men to come together and enjoy their sexuality without having to hide or feel ashamed of their natural choices. They were  places of solidarity and fun. In the age of Grindr and instant gratification, they have become an extension of a social media frenzy, offering a quick fix. However, they still promote personal contact (physical and emotional), as well as the opportunity for the queer community to get together and celebrate love.

In the 80s Revenioti published the influential trans-anarchist fanzine Kraximo, which she funded through her prostitution.

Suspended between militant masculinity and polymorphous perversity, secret codes and shameless exhibitionism, creeping shame and ecstatic resistance, this constellation of fragments celebrates the ruins, the future and the endlessly shifting parameters of the queer, post-queer and post-post-queer archive.

When the whole city is in quarantine, the roofs of apartment buildings are transformed into fields of freedom. Fields of expression and existence without restrictions.

LGBTQI + couples show us what it is like to love and be loved over the harsh landscape of Athens.

Comfort Zone takes perspective on interpersonal relations, drawing parallels between experiences and sidelining what differentiates our identities. The tapestry is woven with juxtaposing natural and industrial fibres and divided into three sections, legible from behind and sensorily elsewhere.

“Comfortably Wild” is a photography slideshow - an ongoing project, about an existing, real world that is unknown to many of us. It is about the  (r)evolution of the Athenian queer scene and society from 2016 until today, a “miracle” between raw reality and fantasy.

High rank army generals presenting their androgynous body characteristics. A virtuous noble woman wearing a strap-on dildo. A prestigious officer indulging his curves. Herma by Tamir David is a series of drawings and etchings, celebrating the ongoing shifts in social values and gender representation. 

Using the design of a tourist postcard and creating small scale public space installations resembling the layout of tourist shops, we aim to bring to the foreground stories left out of the public sphere based on identity issues. 

Kissing surrounded by fireflies, sharing cigarettes after sex and eating an artichoke; ‘Looking for Love’ is a kind of wanted ad in form of oil paintings of various sizes, silver fringe curtains and video performance.

Eden Levi Am's search for a gender identity outside binary opposites was first intuitive then intellectual.

In an eternal altercation with death, the body is conceived as an element of substance of oneself and a boundary of social action.

The interlaced images are filled with a powerful emotional charge; models occupying, appropriating and engaging with the photographic frame are addressing the human body as a site of aesthetic potency.

The act of cruising is a practice that appropriates the pre-determined and common uses of urban public spaces from streets to parks with a queer geography using as little as a backwards glance or a quick smile.

In his body of work Kostis Fokas searches for a new take on the human body and seeks to explore its infinite capabilities.His photographs are a testimony of human sculpture; a landscape where the bizarre meets the ordinary.