— APRIL 29, 2021

Queer art history has mixed cross-cultural roots from the death penalty abolishment in the UK in 1861, the Stonewall Riots of 1969 in the US or anthological Margaret Thatcher’s Section 28 until the real-time LGBTQ establishment, exploring relationships between sexualities and gender identities in the new era of anthropology.

Over the last decades, art historians have examined the visual codes of Andy Warhol, Jasper Johns, Francis Bacon, David Hockney, Robert Mapplethorpe or Catherine Opie to manifest queerness. The genealogy of queer art explores the expanse of cultural practices of non-normative sexualities as a marginalized subjectivity.
Overpainting porn magazines posters, Pepo Moreno’s referencing the criminalization and censorship of homoerotic desire as well as its grotesque persistence towards such stipulations. In some cases, he imposes a canvas with a devil portrait, the male figure with a deranged, half-childish, half-monstrous face over the poster figure genitals. In this connotation, Francis Bacon and Christopher Wood have been already inspired by wrestlers photographs to hint the queer intimacy, yet, Pepo Moreno’s straight canonizing the homoerotic ambiguity in a naive, awkward way.

Devil’s catharsis metabolizes the self-identification, gender dysphoria as well as cisgender inner issues. The title of the exhibition comes from Catalonian dimoni, emphasizing artist’s origins. Previously a fashion and beauty business insider, he used to live in «poor but sexy Berlin » where he gained the firsthand experience on how broad the spectrum of queerness could really be.

The biggest part of Pepo Moreno’s Dimoni series has been done during the lockdown and self-isolation period.

, offering new culture clash models rather a simple inventory of sexual practices. It gives an epistemological implication to the space between the fear and the fantasy.