The Politics of the Handkerchief
“Handkerchiefs have long been used as discreet symbols within the queer community to signal sexual preferences and desires. This practice, known as the hanky code, allowed individuals to communicate their interests without verbalizing them, thus maintaining a level of privacy and safety in hostile environments.”
Rafael Melendez’s take on a Felix Gonzalez-Torres 1990 piece
This handkerchief, produced by the Academy of Realness, features a digital print on cotton showing dolphins following each other in a circular formation. Created specifically for the Inventory art book fair at Cromwell Place, this edition is limited to 16 pieces. It includes the phrase “NOBODY OWNS ME” printed on it, alongside text indicating its creation for the occasion of the fair.
The motif of dolphins in a ring can be traced back to a work by Felix Gonzalez-Torres from 1990, initially produced as an untitled rub-on transfer and later in various other forms, such as embossed white paper, a silkscreen on a T-shirt and even as a tattoo. This work, often reproduced and recontextualized, highlights the themes of love, eternity, ownership, or the lack thereof.
The Message “NOBODY OWNS ME”
The phrase “NOBODY OWNS ME” is a powerful declaration of autonomy and self-ownership, resonating deeply within the queer community. It challenges the notion of being controlled or claimed by another, asserting the individual’s right to self-determination and freedom. This message is particularly poignant in the context of LGBTQ+ history, where personal and sexual autonomy has been historically suppressed.
Dolphins and Queer Culture
Dolphins, often seen as symbols of freedom and harmony, resonate with queer culture due to their social and playful nature. In this artwork, the circular arrangement of dolphins suggests unity and continuity, symbolizing an eternal bond that transcends conventional boundaries. This imagery can be interpreted as a metaphor for the queer community’s interconnectedness and resilience.
The Politics of the Handkerchief
Handkerchiefs have long been used as discreet symbols within the queer community to signal sexual preferences and desires. This practice, known as the hanky code, allowed individuals to communicate their interests without verbalizing them, thus maintaining a level of privacy and safety in hostile environments. By integrating this symbol into the artwork, it not only pays homage to this historical practice but also reclaims it as a form of artistic and political expression.
Art Historical Lineage and Rafael Melendez’s Practice
Rafael Melendez, also known as RTM, continues to blend personal narrative with broader cultural and historical themes. Melendez situates his practice within a dialogue about legacy, repetition, and reinterpretation in art by reinterpreting Felix Gonzalez-Torres' work. His use of everyday objects, such as handkerchiefs, imbues them with layers of meaning, connecting personal identity with collective memory.
Symbolism of the Ring
The ring of dolphins in Felix Gonzalez-Torres’ work symbolizes eternity and the cyclical nature of time and relationships. This motif suggests an unbroken bond, echoing endless love and connection themes. In the context of the handkerchief, this ring becomes a symbol of perpetual resistance and the enduring spirit of the queer community.
In summary, this handkerchief by Rafael Melendez not only pays tribute to the artistic legacy of Felix Gonzalez-Torres but also serves as a powerful symbol of freedom, unity, and resilience within queer culture. Its use of historical motifs and contemporary messages bridges the past and present, creating a deeply personal and universally resonant work.
Rafael Melendez’s Exhibition Poster for SWAB Art Fair 2022
His works are not merely cultural replicas but contemporary reinterpretations that echo his personal journey and the insights gained from his independent explorations of global cultural institutions and galleries.
Rafael Melendez, After-Cady Noland (After-Sturtuvant) Poster, 2022
In 2022, Rafael Melendez, represented by The Academy of Realness, showcased his works at the SWAB Art Fair in Barcelona under the theme “After-Sturtevant.” This project pays homage to Elaine Sturtevant’s method of appropriation art, where she famously replicated the works of celebrated artists. Melendez, however, infuses this approach with a deeply personal touch, selecting and duplicating artworks that resonate with his own emotional experiences and lived realities. His works are not merely cultural replicas but contemporary reinterpretations that echo his personal journey and the insights gained from his independent explorations of global cultural institutions and galleries.
The showcased piece in the poster, a limited edition of 25, illustrates Melendez’s unique style. By recreating the exhibition poster featuring the altered American flag with strategic cutouts, Melendez addresses cultural and national symbols, encouraging viewers to reflect on their meaning and significance in contemporary society. His art creates a dialogue between past and present, tradition and innovation, and emotion and intellect.
Melendez’s work delves into the complex idea of ownership of cultural symbols. By appropriating and altering the American flag, a powerful and widely recognized national symbol, he questions who owns these symbols and what they represent. The strategic cutouts in the flag challenge viewers to think about the flag’s meaning beyond its traditional patriotic context, opening a conversation about its relevance and interpretation in the modern world. Through this act of appropriation, Melendez reclaims the symbol, making it a canvas for personal and collective reflection.
The recreation of the exhibition poster itself is a significant gesture. By transforming a promotional tool into a work of art, Melendez elevates the status of the poster, blurring the lines between commercial and fine art. This act of elevation signifies the power of reinterpretation and the artist’s role in recontextualizing everyday objects. The poster, originally intended to advertise and inform, becomes a medium for artistic expression, carrying deeper meanings and inviting contemplation.
Comparing Melendez’s poster to Cady Noland’s similar work, we see both using the modified American flag with circular cutouts as a central visual element. Noland’s piece, featured in the Museum MMK exhibition from 27.10.18 to 31.03.19, is often seen as a critique of American culture and politics, presented with a simple and clean design that strongly focuses on the artwork itself. In contrast, Melendez’s reinterpretation for the SWAB Barcelona exhibition from 6.10.22 to 9.10.22 is more introspective, reflecting his personal experiences and emotional connections. While both posters challenge viewers to reconsider familiar symbols, Melendez’s includes more textual and visual information, such as sponsor logos and additional exhibition details, providing a broader context for the viewer.
Through “After-Sturtevant,” Melendez not only acknowledges the pioneering spirit of Sturtevant but also carves out a space for his own voice, bridging the gap between homage and innovation, replication and originality. By reinterpreting cultural symbols and elevating everyday objects to art status, he invites viewers to engage in a deeper conversation about the significance and ownership of these symbols in our lives.Don’t worry about sounding professional. Sound like you. There are over 1.5 billion websites out there, but your story is what’s going to separate this one from the rest. If you read the words back and don’t hear your own voice in your head, that’s a good sign you still have more work to do.