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.
Remember to check out The Academy of Realness at the 2024 Inventory Art Book Fair.
“Known for its diverse range of exhibitors, the fair provides a platform for artists, collectors, and enthusiasts to connect and engage with new and thought-provoking works.”
We are excited to announce that The Academy of Realness will participate in the 2024 Inventory Art Book Fair from June 7-9 at Cromwell Place. This event is a significant gathering for those passionate about artist books and independent publishing. At The Academy of Realness, we focus on creating self-published artist books that explore themes of self-representation and the complexities of printed media. Our publications push the boundaries of traditional bookmaking, offering a fresh perspective on what artist books can achieve.
The Inventory Art Book Fair is an excellent opportunity for us to showcase our work alongside other innovative creators. Known for its diverse range of exhibitors, the fair provides artists, collectors, and enthusiasts a platform to connect and engage with new and thought-provoking works. Visitors to our booth will have the chance to see our latest publications and discuss the ideas behind them with the artists. Whether you are a seasoned collector or new to the world of artist books, our collection offers something unique and engaging.
We invite you to join us at Cromwell Place for this inspiring event from June 7-9.
Explore the intersection of creative expression and innovative publishing, and discover what makes The Academy of Realness stand out in the world of self-published artist books. Event
Details:
Date: June 7-9, 2024
Location: Cromwell Place, London
Stay connected with us on Instagram for updates and previews of our work:
#InventoryArtBookFair #ArtBooks #SelfPublished #CromwellPlace #ArtistBooks #CreativeExpression #PrintedDebauchery #ArtFair2024
We look forward to seeing you at the fair!
Rafael Melendez’s Appropriated Poster for SWAB Barcelona
Rafael Melendez’s poster for the 2022 SWAB Art Fair in Barcelona reimagines and recontextualizes iconic imagery in a complex interplay of art history and cultural commentary.
Rafael Melendez’s poster for the 2022 SWAB Art Fair in Barcelona
Rafael Melendez’s poster for the 2022 SWAB Art Fair in Barcelona reimagines and recontextualizes iconic imagery in a complex interplay of art history and cultural commentary. This work, produced in an edition of 25, serves as a striking example of appropriation art, a practice with deep roots in contemporary art movements.
Historical Context
The original inspiration for this poster can be traced back to the 1980s, with Richard Prince’s provocative appropriation of the Marlboro Man advertisements. Prince’s work, itself a commentary on consumer culture and the mythologized American West, set a precedent for using familiar commercial imagery to challenge and critique societal norms. In the 1990s, this concept was further explored when the image was repurposed for a museum show in Germany, blending high art with mass media.
The Academy of Realness
Melendez’s iteration, created for his booth at the 2022 SWAB Art Fair under the auspices of The Academy of Realness, infuses this legacy with fresh meaning. By adopting and adapting the Marlboro Man motif, Melendez engages in a dialogue with the past, while also asserting his own artistic identity. The poster does not merely replicate but transforms the image, making it a vessel for new interpretations and contemporary relevance.
Conceptual Approach
Melendez’s work is steeped in the tradition of neo-conceptual art 2.0, where the idea takes precedence over the medium. By repurposing this iconic imagery, he questions notions of authenticity, originality, and ownership in art. His version stands as a testament to the fluidity of meaning and the ever-evolving nature of cultural symbols. It invites viewers to reconsider their perceptions and to see the familiar through a new lens.
SWAB Barcelona and Beyond
Presented at the SWAB Art Fair, an international platform for contemporary art, this poster situates Melendez within a global dialogue of artistic innovation and cultural critique. The fair, held in Barcelona, is a fitting venue for this work, reflecting the city’s vibrant art scene and its embrace of avant-garde practices.
Limited Edition
This poster, produced in a limited edition of 25, underscores the artist’s commitment to exclusivity and the value of art in the age of mechanical reproduction. Each piece is a unique artifact, part of a collective yet individual narrative, much like the stories that Melendez weaves through his art.
Conclusion
Rafael Melendez’s poster for the 2022 SWAB Art Fair is more than a visual statement; it is a layered commentary on art history, cultural appropriation, and the power of reimagined icons. Through this work, Melendez continues to push the boundaries of contemporary art, inviting viewers to engage with and question the world around them.
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.