appropriation, copy, reinterpretation, plagiary, remix, reproduction

accumulation, archive, wunderkammer, database, cabinet of curiosities, encyclopedia

disclosure, reprint, multiplication, republishing, replication, fac-simile

destruction, deletion, burning, damage, programmed obsolescence, hidden


The process of accumulation and its close relationship with the identity of the collector is the focus of Nicolas Vamvouklis’ research: Collecting Queerly. Here presented in the form of a weekly log, this researchA explores gay identities and identications as they are communicated in and through art and provides a critical approach to the study of collectors. Starting from historical imagery depicting collectors and their possessions, the log will then outline the turbulent existence of the Greek collector and gallerist Alexandre Iolas, the relationship with his collection and the villa which housed it. Archive materials will be gathered together and discussed from a contemporary perspective, in order to set a new layer in the field of queer studies. Questioning the very nature and definition of collecting, Vamvouklis underlines how the act itself, rather than the collected items, is keen to become an object of veneration.

A Inspired by the conference Other Objects of Desire: Collectors and Collecting Queerly, held at the University of Chicago and later transcribed into the homonymous publication edited by Michael Camille and Adrian Rifkin: https​:​//​www.​youtube.​com/​watch?​v=5mZdtN​xCkH8

Born in Lesvos Island (Greece) Nicolas Vamvouklis lives between Milan and Athens. He is a curatorial fellow at FABRICA, the communication research centre of Benetton Group. His artistic and curatorial practice encompasses interdisciplinary thinking over equally the performing and visual arts. Working with installation, performance and exhibition-making he positions the body in the centre of the human evolution where corporeality retracts memories, creates cohesions and produces knowledge over conjoining spacialities. His research interests include among others participatory art, reinterpreting collections and the history of artist-curated exhibitions.



Collecting Queerly

Everything said from the angle of a real collector is whimsical.
— Walter Benjamin

Do you masturbate to your collection?
No. Almost never.

No. Even if the collection is erotic for me on some level, I don’t collect things because they turn me on. I probably would not buy most of these pictures if I didn’t find the men in them attractive, but it doesn’t become a masturbatory focus.

— Vince Aletti interviewed by Adam Baran for BUTT #26

Curiosity is a vice that has been stigmatised in turn by Christianity, by philosophy, and even by a certain conception of science. Curiosity, futility. The word, however, pleases me.
— Michel Foucault

Frans Francken II, Kunst- und Raritätenkammer, 1636, detail

Queer is fluid.*

The last decade, an increasing number of institutions including among others the Museum of London, the Birmingham Museum and Art Gallery, and the Van Abbemuseum in Eindhoven address systematically issues related to the application of queer perspectives to the experience of the museum space, the display of art as well as the nature and definition of collecting.

The ongoing exhibition Expanded Visions: Fifty Years of Collecting (March - May, 2017) at the Leslie-Lohman Museum of Gay and Lesbian Art showcases a comprehensive overview of its co-founders’ collection. Charles Leslie and Fritz Lohman have searched for images of queerness in art history since 1969 accumulating more than 30,000 objects and artworks.

They started collecting and exhibiting art in their SoHo loft with the idea to provide an outlet for living gay artists. Moreover, they managed to preserve a unique corpus of works that would have otherwise been lost forever during the AIDS crisis in the 1980s, when the families of the dying artists and collectors started to throw away or destroy their belongings.

According to the writer Kevin Clarke, Leslie has the biggest phallus-related collection in the world whereas the couple’s efforts to foster queer artistic practice would lead to the formation of a non-profit foundation, a huge archive that became the first major LGBTQ art museum based in New York.

* link

Peter Hujar, Paul Thek on Zebra, 1965, Leslie-Lohman Museum Collection.

From The Art of Looking: The Life and Treasures of Collector Charles Leslie (2014) by Kevin Clarke. In the centre: Marion Pinto, Portrait of Charles Leslie and Fritz Lohman, 1974.

If you see a fair form, chase it
And if possible embrace it,
Be it a girl or boy.
Don't be bashful: be brash, be fresh.
Life is short, so enjoy
Whatever contact your flesh
May at the moment crave:
There's no sex life in the grave.

W.H. Auden

Installation Views
The Collectors, curated by Elmgreen & Dragset
The Nordic and Danish Pavilions, 53rd Biennale di Venezia, 2009

In March 2017, the Museum of Contemporary Art Los Angeles announced that it had received an important donation of twenty two artworks from the collectors Alan Hergott and Curt Shepard. This significant gift represented "unconditional love" as the museum director Philippe Vergne claimed, including paintings and photographs that explore gender issues.

For almost thirty years, the Los Angeles-based couple has been building a collection of both established and emerging contemporary art focusing on men and male identity. Their latest donation included works by Gilbert & George, Matthew Barney, Rineke Dijkstra and Catherine Opie among others, expanding the museum’s permanent collection towards the complex social and political history of the representation of men in queer culture. (MOCA has collaborated with Hergott and Shepard since the 1980s having received roughly forty artworks from their collection).

Collecting was always a mutual passion for both. The fact that they were an openly gay couple in the community of Hollywood since the very beginning of their relationship had influenced the way in which they collected artworks. More than an accumulation of gay-related pieces, their collection is charged with the notion of coupling. This is translated broadly to works that featured pairings: diptychs and installations that juxtaposed one image or object with another.

The collection which is mainly housed in the collectors' residence, designed by Michael Maltzan in the late 1990s, circulates also out of their home. The recent exhibition "HE: The Hergott Shepard Photography Collection" at UMMA in 2015, addressed themes related to masculinities and the construction of identity.


Jeff Wall, Boxing, 2011, color photograph

Gilbert & George, Burning Sky World, 1989, mixed media

Artists collecting is nothing unusual. Indeed, accumulation becomes a regular part or starting point of the creative process. The exhibition Magnificent Obsessions: The Artist as Collector at the Barbican in 2015 presented the private collections of post-war and contemporary artists including memorabilia, curiosities, artefacts and specimens among others. Reflecting personal obsessions, their acquisitions are often made in tandem with their own work and on a visual basis while there are many variations on the dynamics concerning their storage, selection process and circulation.

Hanne Darboven's studio in Hamburg (Photo by Felix Krebs, Hanne Darboven Foundation)

Installation view: Danh Vo (Martin Wong Collection), I M U U R 2, 2013 (Photo by Peter MacDiarmid)

find out more about I M U U R 2

As to why I collect […] collecting for me is an escape into fantasy. The furniture I collect relates to a certain kind of passion I feel within myself […] it has for me an amorous, masculine quality that I don’t find in other furniture. It is as exciting for me as early photographs or the Lucifer bronzes I collect […] To have something that’s beautiful somehow gives me a feeling that approaches immortality. It’s very similar to the act of creating.

Robert Mapplethorpe in a cross-section of ‘people who collect Art and Craft furniture’ including Dan Flavin, Beth and David Cathers, Marcia and Bill Goodman, and Joan and Dane Wells. (Carol Lorraine Bohdan and Todd Mitchell Volpe in “Collecting Arts & Crafts,” Nineteenth Century, Vol. 4, No. 3, Autumn 1978)

Bill Aller, Robert Mapplethorpe at home, from ‘Living with Mission Furniture on the East and West Coasts’ in New York Times, 10 December 1981

Polaroid test shot of the interior of Mapplethorpe’s West 23rd Street loft (glass, ceramics and photographs), taken for House & Garden, June 1988

Alexandre Iolas

Maria Karavia, Eikastika Iolas (ERT), 1982, 27 min

MR: But don’t you love money?

AI: Money, what’s that? I don’t know … Money! But of course, I need lots of it, lots, but …

MR: Iolas, dance, painting, dollars, all these things worthy for you to fight your anxiety.

AI: Anxiety, anxiety, who speaks of anxiety? I don’t have anxiety. What is anxiety?

Interview of Alexandre Iolas to Maurice Rheims, Paris Vogue, August 1965.

At the time I was doing the bronze chair, Iolas was very present in my studio, in Paris. It was after my first show with him. I was painting big white canvases of chairs, and he with Niki de Saint Phalle pushed me to make one three-dimensional. When it was finished, Iolas took it to heart and considered it his baby, so he was adamant that it should be in shimmering gold.

Marina Karella, 2014 in Alexander The Great: The Iolas Gallery, 1955-1987, Paul Kasmin Gallery, 2014.

Horst P. Horst / Conde Nast in Vogue, 1982.
Right: Marina Karella, The Gold Cloth, 1974, bronze.

Andreas Angelidakis, A Short Visit, series of photographs, 2008.