The right once again knows the answer, knows that the true oppositional politics implicitin the practice of queer sexualities lies not in the liberal discourse, the patent negotiation,of tolerances and rights, important as these undoubtedly are to all of us still denied them,but rather in the capacity of queer sexualities to figure the radical dissolution of thecontract, I every sense social and symbolic, on which the future as guarantee against thereturn of the real, and so against the insistence of the death drive, depends.
Death drive aside, it is the particular relationship between queer sexualities andthe contract, the particular extract,
“the true oppositional politics in the practice of queer sexualities lies…in the capacity of queer sexualities to figure the radical dissolution of the contract,” that interests me. This named “contract” stands for that which is acceptable,
allowed, normal by social and juridical standards, and
perhaps most of all
expected.The dissolution of the contract is the breach of the expected.Instead of attempting to normalize queer perspectives through actions such asembracing more acceptable sexual behaviors and living situations, for example, queeroppositional politics should occupy this position of deviance and immorality precisely
because the “dissolution of the contract” is so important.
Its importance is in its ability toact as a catalyst for change, discussion, thought, or, at the very least, engagement.Dissolution can also manifest as a confrontation, intervention, or rupture that encourages
and occasionally even forces engagement. In Hein’s words
The new public art is mobile and practical. It exposes the ordinary, provokes criticism,and subjects itself to question as it probes outward and inward, releasing fresh ideas.
Such volatility is a fertile model for the museum….
Her positioning of public art as volatile, probing, provoking, and exposingmechanisms for deploying new ideas and perspectives is strikingly similar to
conception of queer oppositional politics as essential for rupturing the contract.Furthermore, they are essential elements of public art that, I believe, need to beencouraged and might not be were the paradigm of public art to be employed by themuseum.Aside from its personal properties and energies, physical location is another formof rupture that public art can make. The geographical presence that public art can have on
Lee Edelman, “The Future Is Kid Stuff: Queer Theory, Disidentification, and the Death Drive”
,Vol. 6, No. 1 (January, 1998), 23