Reorienting Intimacies: Felix Gonzalez-Torres’s First Canadian Solo Exhibition
Bibliographic record
Abstract
With widespread global lockdowns in our recent collective memory, we know what it is like to be isolated from one another and what it might mean for shared touch or breath to be forbidden. In a violent political climate, still feeling the aftershocks from the COVID-19 pandemic, how might we reassess what intimacy can look like? Attending to mass loss and grief, I turn to the work of queer, contemporary artist Felix Gonzalez-Torres to consider to how the sensorial and material coincide with individual and collective affect. Moving through essay and interview forms, this piece looks at Felix Gonzalez-Torres’s first solo exhibition in Canada, Summer/Winter, curated by Rui Mateus Amaral at the Museum of Contemporary Art in Toronto in 2022. This timely exhibition began as Summer, but as time progressed, the show transitioned into Winter, altering the composition of many of the installation artworks. In conversation with Amaral, we explore interpretive possibilities, curatorial practices, transitional tensions, significance of place, and life-affirming grief present in the show. Amaral’s curatorial choreography considers how spectators orient themselves in relation to the artworks and, in turn, how they might reorient themselves towards one another and the world outside of the museum walls. Through theoretical vignettes, in conversation queer of color theorists and performance scholars, this piece explores the generative possibilities of loss in Gonzalez-Torres’s work and how we might turn to the past to imagine more kind and pleasurable futures in the present. By engaging deeply with Gonzalez-Torres’s artwork and Amaral’s curation, this piece thinks through the affective, choreographic, political, and relational registers of Summer/Winter to envision otherwise possibilities for how to care for one another.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.003 |
| Meta-epidemiology (narrow) | 0.001 | 0.001 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.046 | 0.014 |
| Scholarly communication | 0.007 | 0.002 |
| Open science | 0.003 | 0.005 |
| Research integrity | 0.003 | 0.005 |
| Insufficient payload (model declined to judge) | 0.010 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".