GODASSES - Part I: Puscle Mussy

In his comedy The Clouds (423 BCE), the Greek playwright Aristophanes provides us with a description of what a naked young man should look like. During a debate between personifications of traditional morality and hedonistic self-indulgence, the former seeks to persuade the young Phidippides of the personal advantages of a virtuous life. By following this path, “you’ll always have a gleaming chest, bright skin, broad shoulders, tiny tongue, strong buttocks, and a little prick. But if you take up what’s in fashion nowadays, you’ll have, for starters, feeble shoulders, a pale skin, a narrow chest, a huge tongue, a tiny bum, and a large skill in framing long decrees.” The physical ideal pursued here is also reflected in the shapes of contemporaneous sculptures or the depictions on ancient vases: Whereas a strong booty combined with a small penis elevated an ephebe almost to the rank of a god, a large genital and flabby buns were indicative of a careless, depraved lifestyle.
 
Obviously, tastes and preferences have changed since antiquity; a small dick isn’t the merit it used to be, especially within the genre of pornography. But a juicy arse still proves to be enchanting. And Puscle Mussy, one protagonist of Emre Busse’s movie GODASSES and the star of his very own OnlyFans account, has it both – “a big muscle pussy and big dick,” as he advertises his assets on Twitter. Despite this excess of desirable meat, Busse focuses exclusively on Mussy’s divine derriere as part of his newest compilation of short films, which continue his earlier filmic explorations of gay pornography and masculinity. In this new project, he questions the myth of having the perfect keister in contemporary queer porn and asks: What makes us fancy the fanny? How much junk belongs in the trunk?
 
The tush is a peculiar thing – and not as ubiquitous as the abundance of terms used to describe our sitzfleisch makes us believe. In fact, the fleshy posterior is only pronounced in humans and to a lesser degree in primates. Its voluminous shape is defined by fat and muscles known as the glutes, which are responsible for achieving as well as maintaining the upright posture and propelling the body forward. Evolutionary, our prat emerged in correlation to the development of the erect posture around six million years ago, a necessary key event for the genesis of humankind. However, in Busse’s GODASSES, humanity is back on all fours again, with Puscle Mussy shaking his greased groove thing. Demonstrating, pace Aristophanes, that you can have it all, a fat ass and hedonistic self-indulgence. You can have the cake and eat it, too – or in this case: he has the cake and can have it eaten, too.

Landlords - The Economics of S&M Apartments in Berlin

Experimental documentation behind the culture of S&M apartment rentals in Berlin answering the questions: who owns them, how are they designed/built, to whom and how they are marketed, and how they fit into their niche market within the cities well-known sex tourism trade?


"Homeownership fetish" broke out as an American Dream at the beginning of the 1900's, and its historical variation on today’s social predicaments like globalization, immigration issues and gentrification. Berlin -the fetish capital of Europe- creates a new area of criticism in the homosocial environment which can be associated with commodity fetishism, also provided by more than five fetish housing companies.


On one side sits, the material conditions of a fringe non-economy, the artist culture, the many spaces that existed in berlin after the fall of the wall which led the way to have social spaces that developed into alternative and queer social spaces often serving as non-capitalist marketplaces, those leading the way to further evolving queer culture in the city. And on the other side: the mainstream gay culture of Schöneberg wıth its bars, shops, cafes, and other marketplaces leads to new ways of thinking in regards to economics.


Fetish has a particular presence in the writings of both Marx and Freud. Its implications for these two theorists of the social and personal relations between human beings and objects. The works of Freud suggests that the idea of the fetish involves attributing properties to objects that they do not 'really' have and that should correctly be recognized as human, while Marx's account of fetishism addresses the exchange-value of commodities at the level of the economic relations of production.


With this documentary, we intend to explore the relationship between supply and demand in this niche of the sex community to perhaps understand and think of other new possible applications within the non-commercial gay and queer marketplaces.

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Hyper Masculinity On The Dance Floor 

In the club economy of seeing and being seen, hyper-masculine bodies and bodily enactments not only communicate a certain idealized muscled aesthetic but also employ and reflect cultural notions of gender, sexuality, desire, race, and class. As Peterson asserts in “Clubbing Masculinities: Gender Shifts in Gay Men’s Dance Floor Choreographies” the body and its expressions (both verbal and corporeal) can be read as articulations of an individual and his or her cultural positionality.
 
Thus, in a homo-social club setting where hyper-masculine bodies full of kinetic energy react with one another, express desire and seek pleasure various cultural and political questions can be explored:

What is the value in an individualistic display of an exceedingly masculinized body in a gay male setting? How much effort and time is put into maintaining the hyper-masculine representation? Does this hyper-masculine representational strategy act as a shield against homophobia or is it a manifestation of internalized hetero-patriarchy and the homophobia that comes with it? Does the existence of hyper-masculine gay men undermine the dominant hetero-patriarchal values around gender and sexuality by showing masculinity to be performative rather than some form of essential identity attainable only by heterosexual men? Or does it reinforce the dominant values of hetero-patriarchy by placing a higher value on masculinity over femininity and a heterosexual gender expression over a homosexual or queer one? In relation to the hyper-femininity of drag queens, to what degree is camp and irony involved in the performance of hyper-masculinity?

This video takes the dancing body on the homo-social dance floor as a research site and aims to wander through the spectrum of hyper-masculinity and its expressions, cultural origins, and political implications.

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