Kaleigh Trace is a disabled, queer, feminist sex educator with a mission: to promote “safe, shame-free and consensual sex people of all abilities, ethnicities, races, orientations, and gender identities.” Among other things, she co-wrote and appeared in the above music video in response to Robin Thicke’s “Blurred Lines.” Now, Trace is down from Halifax, Nova Scotia, to promote her new book. Hot, Wet and Shaking: How I Learned to Talk About Sex is “a book about having sex by yourself, with one person, or with twenty people if everyone is down.” It’s a memoir-cum (ha!)-manual that doesn’t skimp on risqué detail. If you still feel like an awkward teenager when it comes to sex talk, or if (god forbid!) you were under the impression that disabled people aren’t fucking, come along and wise up.
readings + talk
We, The Outsiders is an art exhibition that explores several perplexing questions: “Can it be said that art has a consciousness of its own? And if such a consciousness were independent of us, where would it place us in relation to itself?” I have no idea what that means, but I do know that the exhibition revolves around a gigantic egg—which probes, like the classic chicken-and-the-egg conundrum (I prosaically assume), where consciousness begins and ends when it comes to art. Curated by Chus Martinez, We, The Outsiders brings together works (including the above video) by an international quartet of artists, and will be on view at the physical gallery space of e-flux (the publishing platform, archive, artist project, curatorial platform, and enterprise founded in 1998) through September and October. If you enjoy contemplating the philosophy of art and the potential solipsism of creativity, consider attending the opening ceremony, where Martinez will be in conversation with Boris Groys—noted art critic, media theorist and philosopher.