Final Report Summary - EU SEXUAL DIVERSITY (A comparative study of LGBTQ rights and art in the UK and Poland within the Context of the EU idea of sexual diversity)
The project 'A comparative study of LGBTQ rights and art in the UK and Poland within the context of the EU idea of sexual diversity' (EU SEXUAL DIVERSITY) has investigated the situation of Lesbian, gay, bisexual, and transgender (LGBT) rights and art in European Union (EU) countries, the United Kingdom (UK) and Poland in particular, throughout the last two decades. This interdisciplinary, comparative and socially involved research project aimed to analyse LGBTQ issues and their artistic / visual expression, as well as explore the possibilities of bringing about democratic transition through queer visual arts and other forms of artistic and intellectual expression. The results of the project have been achieved and disseminated through work carried out in such diverse fields as publications and presentations for the scholarly and general audience, academic teaching, art exhibitions and symposia, grassroots activism and media outreach. Due to the bi-national character of the academic, curatorial and activist endeavour the outcomes of the project have been presented in two languages and located predominantly in two countries - the UK and Poland, since this work was strongly involved in the political and social situation of minority rights and contemporary art in both countries. Moreover, the project has had a perfect timeliness and relevance, as it has corresponded with the radical political changes and heated public and academic debates concerning queer rights that have been taking place over the last two years throughout many EU countries, particularly Poland and the UK, two states which could theoretically represent opposite poles on the EU queer-rights map.
The general conclusion of this research is that while the political and legal advancement of queer rights in Poland definitely lags behind recent progress being made in the UK, the situation of queer art and culture seems to be exactly the opposite. Despite the fact that the Polish parliament has again rejected a basic bill that would have legalised civil unions, and homophobia there has also been on the rise, queer art has been thriving in the last decade, and the visual culture of sexual diversity now plays an important and central role in the social debates and related controversies which are foremost in the slow development of queer rights. It is progress via highly visible queer cultural expressions which may also be observed in other EU member states that have regressive politics regarding queer equality. The situation in the UK seems to be quite different. Though LGBTQ rights such as same-sex marriage have been mainstreamed - even supported by the conservative ruling party - and mostly accepted, queer art and visual culture tend to be marginalised and neglected, relocated to special interest zones, market niches, and are not significant to creating any broader social discussion or change. Queer art is not understood or used as a democratic platform like it is in Poland. The golden age and power of queer culture in the UK seems to belong to the late twentieth-century, with its gay and lesbian movements; on the contrary, now it is rich yet dispersed and disappearing into the commercial diversity of products. Besides cultural differences, there are also significant similarities between the British and Polish discourses concerning queer rights, such as a persistence in certain spaces of homophobia and discrimination in both countries, the cunning diversity of art censorship strategies, constant religious controversies and oppressions, the political crisis and split within conservative parties with regards to queer issues, and the search for new modes of progressive sexual politics on the left side of the political and intellectual spectrum.
To study these phenomena in the British and Polish context I have extensively read, analysed and interpreted publications from the social and legal sciences, queer studies and journalistic sources, in an effort to increase the interdisciplinary and up-to-date character of my art historical and curatorial research. I have also conducted a series of consultations and interviews with academics, artists, curators, politicians and activists, whom I have invited to actively participate in my research. To achieve the project objective of studying, comparatively and historically, queer arts and rights, I have organised laboratory-like public events and debates that bring together academics, artists, curators, politicians and activists from various European countries. Thus I have fostered dialogue between central and eastern Europe, as well as other parts of the continent, on European culture, the politics of equal rights and freedom of expression. These exhibitions, meetings, workshops and symposia, both inside and outside of the academy, have helped create a deeper understanding of the complexities of queer rights, equality and visual culture in the UK and Poland. The creativity of this approach lies in its ability to conduct part of the research through public and artistic forums based on innovative collaborations which function as hubs of democratic debate. These open events, which have featured publications, art presentations, discussions and lectures, resemble town hall meetings that are well attended, receive considerable media coverage and build a new vista for cultural and social change and exchange. Thus, my research activities have always been intertwined with broader social impact and engagement. Therefore, the result and strategy of this project are relevant for art/cultural institutions and museums which aim for social and political outreach and a more democratic, critical and inclusive programme. The target group also consists of the political and civil bodies which work on such a difficult and sensitive topic as the promotion of human rights based on gender and sexuality through cultural and visual communication and effects. This research illuminates how contemporary art and visual culture, along with their curation and programming, play an important social role in building the culture and ethics of gender and sexual equality, thus supporting the anti-discriminatory and democratic ideals of the EU. This type of work in academia, art and advocacy has been changing Polish culture (where my projects are pioneering, controversial and socially potent), but also tries to invigorate the lost social impact and status of queer art in the UK and the partnership possibilities of queer and feminist art and activism.
Furthermore, working on this project I have significantly strengthened and advanced my academic standing in Poland. I received habilitation qualification for professorship in February 2012. As a culmination of my Curie fellowship, on the basis of my publications, exhibitions and a special examination, I was awarded the title of habilitacja (Habilitationsschrift), a very significant development in my career. I have also developed a greater international standing by participating in many conferences and international academic, publishing and cultural networks.
The general conclusion of this research is that while the political and legal advancement of queer rights in Poland definitely lags behind recent progress being made in the UK, the situation of queer art and culture seems to be exactly the opposite. Despite the fact that the Polish parliament has again rejected a basic bill that would have legalised civil unions, and homophobia there has also been on the rise, queer art has been thriving in the last decade, and the visual culture of sexual diversity now plays an important and central role in the social debates and related controversies which are foremost in the slow development of queer rights. It is progress via highly visible queer cultural expressions which may also be observed in other EU member states that have regressive politics regarding queer equality. The situation in the UK seems to be quite different. Though LGBTQ rights such as same-sex marriage have been mainstreamed - even supported by the conservative ruling party - and mostly accepted, queer art and visual culture tend to be marginalised and neglected, relocated to special interest zones, market niches, and are not significant to creating any broader social discussion or change. Queer art is not understood or used as a democratic platform like it is in Poland. The golden age and power of queer culture in the UK seems to belong to the late twentieth-century, with its gay and lesbian movements; on the contrary, now it is rich yet dispersed and disappearing into the commercial diversity of products. Besides cultural differences, there are also significant similarities between the British and Polish discourses concerning queer rights, such as a persistence in certain spaces of homophobia and discrimination in both countries, the cunning diversity of art censorship strategies, constant religious controversies and oppressions, the political crisis and split within conservative parties with regards to queer issues, and the search for new modes of progressive sexual politics on the left side of the political and intellectual spectrum.
To study these phenomena in the British and Polish context I have extensively read, analysed and interpreted publications from the social and legal sciences, queer studies and journalistic sources, in an effort to increase the interdisciplinary and up-to-date character of my art historical and curatorial research. I have also conducted a series of consultations and interviews with academics, artists, curators, politicians and activists, whom I have invited to actively participate in my research. To achieve the project objective of studying, comparatively and historically, queer arts and rights, I have organised laboratory-like public events and debates that bring together academics, artists, curators, politicians and activists from various European countries. Thus I have fostered dialogue between central and eastern Europe, as well as other parts of the continent, on European culture, the politics of equal rights and freedom of expression. These exhibitions, meetings, workshops and symposia, both inside and outside of the academy, have helped create a deeper understanding of the complexities of queer rights, equality and visual culture in the UK and Poland. The creativity of this approach lies in its ability to conduct part of the research through public and artistic forums based on innovative collaborations which function as hubs of democratic debate. These open events, which have featured publications, art presentations, discussions and lectures, resemble town hall meetings that are well attended, receive considerable media coverage and build a new vista for cultural and social change and exchange. Thus, my research activities have always been intertwined with broader social impact and engagement. Therefore, the result and strategy of this project are relevant for art/cultural institutions and museums which aim for social and political outreach and a more democratic, critical and inclusive programme. The target group also consists of the political and civil bodies which work on such a difficult and sensitive topic as the promotion of human rights based on gender and sexuality through cultural and visual communication and effects. This research illuminates how contemporary art and visual culture, along with their curation and programming, play an important social role in building the culture and ethics of gender and sexual equality, thus supporting the anti-discriminatory and democratic ideals of the EU. This type of work in academia, art and advocacy has been changing Polish culture (where my projects are pioneering, controversial and socially potent), but also tries to invigorate the lost social impact and status of queer art in the UK and the partnership possibilities of queer and feminist art and activism.
Furthermore, working on this project I have significantly strengthened and advanced my academic standing in Poland. I received habilitation qualification for professorship in February 2012. As a culmination of my Curie fellowship, on the basis of my publications, exhibitions and a special examination, I was awarded the title of habilitacja (Habilitationsschrift), a very significant development in my career. I have also developed a greater international standing by participating in many conferences and international academic, publishing and cultural networks.