A Steamy Night of Readings with Camille Sojit Pejcha and Substack

Last Tuesday, New York’s literary world descended on a Wall Street bath house for a midnight reading on desire.

text by Karly Quadros

There’s rarely a good reason for any self-respecting writer to be in the Financial District at 10:30 pm on a Tuesday, but here I am at a Russian bath house, standing behind a girl complaining loudly on the phone about how she’s definitely over her situationship this time. It’s a fitting start to the real reason that I’m here: a late-night reading on the topic of desire from some of New York’s seamiest and funniest writers, hosted by writer Camille Sojit Pejcha and Substack.

At the tail end of my first frigid New York City winter, I’m ready for a schvitz and a soak in my red Coca-Cola vintage one piece. It was an apt fashion choice: the decor had a distinctly 80s flair, all blue tiles and decals of mermaids and tropical fish. Amidst a modern sauna renaissance, the focus is less wellness and more third space. Clusters of attendees bounce on pruny toes between the sauna, bar, and a large central pool where the readings take place. The hot tub is packed to the brim while the rest of us paddle placidly in the pool or perch on its edge sipping orange juice and house-made vodkas infused with horseradish, lemon, black currant, and raspberry.

Bath houses have been around since as long as humans have lived together. The sauna’s simple, woody engineering helped people escape brutal Norse winters. Russian and Eastern European immigrant communities carved out their own little piece of New York City with homosocial bath houses where potbellied men socialized and sweated it out together in between cold plunges and traditional beatings with prickly oak branches. In the 20th century, bath houses became iconic for their status as gay cruising grounds. But, as Sojit Pejcha reminds me, before all of that, in ancient Roman times, public baths were community spaces, closer to libraries than bedrooms. With this reading, organized in collaboration with Substack’s Matt Starr and Sophia Efthimiatou, she was blending the two.

Featuring performances from Sojit Pejcha, Brontez Purnell, Cat Cohen, Mary H.K. Choi, Jaboukie, J Wortham, Liara Roux, Old Jewish Men, and Sherry Ning, the readings are occasionally erotic, often funny, always revealing. They detailed desires that were passing or all encompassing. The desires were sometimes existential (wanting to be beautiful), sometimes specific (wanting to be let into the Delta Sky Club.) Like an extension of a dream where you have to give a speech only to realize that you’re not wearing any pants, many of the writers, performing in swimsuits, took on the things they’re a little embarrassed to want in the first place. 

Sojit Pejcha riffed on the misbegotten workplace dalliances of her early twenties. Cat Cohen tore through several poems on everything from $400 Zoom psychics to wanting to be so tiny and thin she could ice skate on the crust of crème brûlée. Others wrote about wanting things they feel they should probably be a little more ashamed of but aren’t, like Brontez Purnell taking on relapses and near-death experiences. Mary H.K. Choi channeled her irrepressible lust for affordable health care through Luigi Mangione’s delicately shackled ankles. And then there was Jaboukie who fantasized about a kinky threeway with Senate Republican leader Mitch McConnell and his remote control buttplug-wielding wife.

Maybe it’s the humidity or the smell of smoked herring that’s gone to my head, but the night is shaping up to be, if not exactly sexy, then much more revealing. With authors and audience alike in nothing but their skivvies, there’s nowhere to hide. Considering the avalanche of hand-wringing thinkpieces about how Gen Z is too prudish, I think to myself that those authors clearly didn’t show up here.

Sojit Pejcha, whose newsletter Pleasure-Seeking focuses on desire and sexuality with a gonzo, anthropological aplomb, agrees. She points to a collective burnout in the face of the overzealous sex positivity of the 2010s, in which dating apps gave rise to a particular kind of casual sex and corny brands Urban Outfitters were hawking vibrators as a quick path to empowerment. Ultimately, however, that promised sexual empowerment was just another way for brands to leverage human desires to sell products. 

“I think it’s worth interrogating what shapes our desires, what social conditions we’re responding to and why we think things are subversive,” said Sojit Pejcha. “Brands and dating apps marketed sex as a source of liberation for women–but failed to close the orgasm gap. Between this and the conservative cultural turn, there was a sense that sex positivity wasn’t all it cracked up to be, and sex negativity almost seemed subversive.”

With this event and her newsletter, she’s refocusing the conversation on pleasures and vulnerabilities both transgressive and ordinary. “So much of the conversation is about how atomized we are, how isolated and sexless we are. I think part of that is true, but at a certain point, complaining about it online is not helpful,” she said. “My role is to seek out sexual culture where it exists in the real world.”

If the event’s near instant ticket sell out and 300 person waitlist is any indicator, the appetite for spaces that are sultry and silly isn’t just existent – it’s ravenous. Spilling out into the night, still March brisk but no longer wind whipped January, I can feel the thaw coming.

Images courtesy of Anna Maria Lopez

Tomorrow, I Will Become an Island Charts Coco Fusco's Radical Path of Social Reckoning @ KW Institute in Berlin

Tomorrow, I Will Become an Island is the first major retrospective of Cuban-American artist Coco Fusco (b. 1960, US). For more than three decades, she has been a key voice in discourses on racial representation, feminism, postcolonial theory, and institutional critique. The exhibition seeks to trace the profound influence that Fusco’s work has had on contemporary art discourses in the Americas and Europe. To do so, it features a broad selection of the artist’s videos, photography, texts, installations, and live performances from the 1990s to the present day.

With her multidisciplinary practice, Fusco explores the ways that intercultural dynamics affect the construction of the self and ideas about cultural otherness. Her work is informed by multicultural and postcolonial discourses as well as feminist and psychoanalytic theories. Her investigation of intercultural dynamics has led her to develop art projects about ethnographic displays, animal psychology, sex tourism in the Caribbean, labor conditions in free trade zones, suppressed colonial records of Indigenous struggles, and the military interrogation techniques used in the war on terror. Her more recent work focuses on the relationship between poetry and revolutionary politics in Cuba.
The exhibition is loosely structured along these various interconnected themes. As such, Tomorrow, I Will Become an Island shows the breadth of Fusco’s artistic practice that is highly relevant considering current political and cultural debates in Germany and beyond.

Tomorrow, I Will Become an Island is on view through January 24th, 2024, at the KW Institute for Contemporary Art in Berlin at Auguststraße 69, 10117 Berlin, Germany

Mine's On The 45: A Guide For Masturbation & Sex To Get You Through The Quarantine

Tom Sachs, Knoll Turntable
1999
duct tape, phone books, steel
26 x 49 x 27 inches

Masturbating is a lot like writing a song. I guess sex is in general, but you can’t compose a complete sexual event with another person if you don’t know how to build the structure on your own. 

You want to start out with a strong open. You don’t want to just jump into the chorus with all instruments fired up in full swing. You want to find something minimal and seductive to whet the palette—like the opening bassoon in Stravinsky’s “The Rite of Spring.” It’s a singular, sumptuous gesture that drips of sex. Be sure to slowly mine that gesture for all it’s worth, check the reaction, and then slowly add each layer of stimulation in an intuitive sort of fashion—teasing in a hook from time to time and then easing back into the groove. Click here to read more.

The Hammer Museum in Los Angeles Presents Paul McCarthy: Head Space, Drawings 1963–2019

The first comprehensive survey in the United States of drawings and works on paper by the Los Angeles–based artist Paul McCarthy (b. 1945, Salt Lake City), Paul McCarthy: Head Space, Drawings 1963–2019, reveals a rarely examined aspect of the artist’s oeuvre. Produced in thematic cycles, McCarthy’s drawings share the same visual language as the artist’s sculptural and performance works, addressing themes of violence, humor, death, sex, and politics, and featuring extensive art historical and pop-cultural references. By presenting his expansive career of more than five decades through the focused lens of drawing, the exhibition offers a greater understanding of this influential artist and social commentator.

Paul McCarthy: Head Space, Drawings 1963–2019 features 600 works on paper selected from McCarthy’s archive. The works incorporate and utilize a variety of mediums, including charcoal, graphite, ink, marker, and collage, as well as more unorthodox materials such as ketchup and peanut butter. A consummate and accomplished draftsperson, McCarthy approaches his daily drawing practice as a way of thinking—a blueprint for projects and a tool to flesh out complex ideas. Since the 1970s, McCarthy has also incorporated drawing into his performances, implementing it as part of an action and often drawing in character. In recent years, this practice of drawing in character has become central to his large-scale video performance projects, such as WS White Snow (2012–13), CSSC Coach Stage Stage Coach (2017), and NV Night Vater (2019–). In a process McCarthy terms “Life Drawing, Drawing Sessions” the artist and his actors produce drawings in costume among the props and simulacrum of his film sets. These works bring together the materials and crude gestures that have been present in the artist’s work for the greater part of his career.

Paul McCarthy: Head Space, Drawings 1963–2019 will be on view throughout May 10, 2020 at The Hammer Museum 10899 Wilshire Boulevard Los Angeles, CA. photographs courtesy of the gallery

Homeward Bound Group Show @ Nicodim Gallery In Los Angeles

Homeward Bound is a domestic setting where all the skeletons are let out of the closet and allowed to play on the furniture, to stomp each other’s grapes. With the eye of noted designer Oliver M. Furth, the gallery space has been transformed into a literal home, complete with a living room, dining room, bedroom, bathroom, beyond. Karon Davis’s Bianca sits plaintively by a front room window, drinking, smoking, waiting for a lover who will never return. Bjarne Melgaard cross-dresses in the skins of other species as if he was never quite comfortable in his own, while Lisa Anne Auerbach is very comfortable lounging around the house, reading bondage magazines in her underwear. Chris Burden’s first wife informs him in a letter that not only won’t she crucify him to their VW Bug, but that the suggestion has destroyed her relationship with the vehicle. Gold-leafed snails carry their mobile homes to the apexes of an organic landscape—the tips of Ruben Verdu’s nose and erect phallus—and both artist and travelers achieve climax simultaneously. Within the walls of this house, faces become chairs, vaginas become toothy faces, jello moulds become temples and orifices, music becomes sex itself. Homeward Bound will be on view until December 9th at Nicodim Gallery, 571 S Anderson Street Ste 2 Los Angeles

Cult Chinese Photographer Ren Hang Debuts His New Series, Athens Love, This Week In New York

“Athens Love” consists of snapshots Ren Hang took in Athens and other parts of Attica, Greece, during an artist residency in April, 2015. The images evoke faded memories of escapades with friends and lovers against the saturated backdrop of the Mediterranean. An incandescent face rises from a tumble of long black hair, bordered by a blue sky and sea; protruding genitals cheekily reflect the surrounding natural landscape. Linking these images is a narrative Ren Hang subtly pursues in all his work, in which man and nature each react to the other’s magic. Ren Hang will be signing copies of monograph, Athens Love, at New York’s Dashwood Books on March 25, 2016 with an exhibition at Klein Sun Gallery  in New York from 24 March 2016 to April 30, 2016. Click here to read Autre's short interview with the photographer. 

Sistaaz of the Castle Explores Transgender Sex Workers That Roam The Streets of Cape Town, South Africa

Photographer Jan Hoek and fashion designer Duran Lantink present Sistaaz of the Castle, a project about the style and fashion of transgender sex workers in Cape Town, South Africa. Together they created a series of photographs and a fashion collection around their fashionable appearances, and their ability to make the most exuberant creations of everything they find. The project will be shown during FashionWeek Amsterdam and an exhibition at Foam Photography Museum Amsterdam. The local sex workers’ organization, S.W.E.A.T., gave Jan and Duran the opportunity to meet and collaborate with their transgender support group Sistaazhood. For this project, Jan and Duran zoom in on six girls from the community: Coco (25), Cleopatra (23) Sulaiga (30), Gabby (29) Flavinia (33) and Joan Collins (57). Most of the girls are homeless, living under a bridge beside the castle of Cape Town. Jan Hoek made photographs of them, their lives and their outfits. The documentary images serve as a lookbook for the collection of Duran Lantink. The designer was inspired by the creative ability of the girls to produce beautiful creations from found garments. He recognized a similarity to his own process, using different recycling methods and collage techniques. Along with the creations, the artists were interested in how the girls would like to look if they had unlimited possibilities. One of the girls would like to work in a luxurious Victorian brothel. The 57-year-old Joan Collins dreams of a wedding dress and a third wants to become Miss Africa. All these fantasies are translated into a dream-couture capsule collection by Duran, which is also photographed by Jan. In addition to the fashion show and exhibition, a printed publication (APE) will be published and distributed worldwide in March 2016. Eventually, Jan and Duran will return to South Africa to present the Sistaaz of the Castle project on its original site. Usually, transgender sex workers are presented as perpetrator or victim in the South African media. The girls of Sistaazhood expressed their wish to be seen positively in the news. The collection will be presented during FashionWeek Amsterdam at the Gashouder on January 16 at 7p.m.. The Foam exhibition will be on view until January 20.

When Good Sex Goes Bad: Audra Wist Writes About Sex With No Strings Attached and The Perils Therein

My sexual freedom had turned into burgeoning co-dependency and like a shark sniffing out blood in the water, my eyes went white and I could no longer see the world as I once had. I fiended for that good stuff and locked myself away gnawing at the fence of sexual satisfaction. I started getting attached, paranoid, neurotic. This was a real problem for me. I am interested in sex, I write about sex, I think about sex, I like sex very much. I don’t even have to question it—I’m just there, fucking. And therein lied the problem: reckless, automatic over-investment. By diving head first into something that was supposed to be on particular terms, did I lose the ability to create the framework in the first place? Click here to read more. 

Sophie Calle Installs Safes For Storing Lovers' Secrets At Fraenkel Gallery In San Francisco

"Find a couple. Have each of them tell me a secret. Install two safes in their home. Lock each secret up in its own safe. Keep the codes to myself. The lovers will have to live with the other’s secret close at hand but out of reach." Fraenkel Gallery presents an exhibition of work by Sophie Calle. Calle uses photography, text, and video to pursue her sociological and autobiographical investigations. Her exhibition at Fraenkel Gallery focuses on four bodies of work in which the artist delves into the nature of love, violence, secrets, and death. Among the works on view will be Secrets—a pair of working safes for storing a couple’s secrets, accompanied by a plaque engraved with the above text and the artist’s contract stipulating how these mysteries will remain secured. Writing is often integral to Calle’s work, as in her 2014 triptych Suicide (also on view), in which photographs of dark ripples on the surface of black water are accompanied by text sandblasted on glass: “They say the police can distinguish between people who drown themselves for love and those who drown themselves for money…” Featured in this exhibition will be two series incorporating portraits from ‘ready-made’ sources and addressing themes of privacy and violence. Calle’s Cash Machine photographs are made from ATM video surveillance footage, and each work is exhibited as a sequence of two to eleven images. Collateral Damage, Targets is a series comprised of images of petty criminals’ mugshots, which were used for police target practice. The exhibition will be on view until December 24, 2015 at Fraenkel Gallery in San Francisco. photographs by Bradley Golden

In the Veil of Cashmere: Poet and Photographer Thomas Roma Takes Tender Portraits of A Secret Erotic Eden

Steven Kasher Gallery presents Thomas Roma: In the Vale of Cashmere. This exhibition of Roma’s most recent project consists of an intricate sequence of 75 black and white portraits and landscapes photographed in a secluded section of Prospect Park, a meeting place where black, Latino and other gay and bisexual men have long sought one another out to fulfill their wish for community and to satisfy sexual desire. This is Roma’s first major New York exhibition of new photographs since his acclaimed solo exhibition Come Sunday at the Museum of Modern Art in 1996. The book In the Vale of Cashmere will be published by powerHouse Books in conjunction with the exhibition. Thomas Roma: In the Vale of Cashmere will be on view starting today and running until December 19, 2015 at Steven Kasher Gallery, 515 W. 26th St., New York, NY

Read Audra Wist's Essay On the Demystification Of Sexual Urges And Why Men Need To Be Touched More

“I love to be caressed,” he said to me, my hand on his chest. Color me impressed. As I get older, I continually notice the need for men to be touched. I’ve been a long time proponent of strip clubs, sex work, and so forth – physical sites designed for and marketed to men for sexual pleasure – even before I could really justify it legally or intellectually. I always had a hunch that something was going on there that was good for women and for sex, and that the usual bad mouthing on the grounds that men were sniveling tit-obsessed cretons was ill considered and lacked any constructive thought about the potential of these venues for sexual progress. Click here to read the full essay. 

Men Should Be Touched by Audra Wist

photograph by Brooke Frederick

text by Audra Wist

“I love to be caressed,” he said to me, my hand on his chest. Color me impressed. As I get older, I continually notice the need for men to be touched. I’ve been a long time proponent of strip clubs, sex work, and so forth – physical sites designed for and marketed to men for sexual pleasure – even before I could really justify it legally or intellectually. I always had a hunch that something was going on there that was good for women and for sex, and that the usual bad mouthing on the grounds that men were sniveling tit-obsessed cretons was ill considered and lacked any constructive thought about the potential of these venues for sexual progress. For me, porn has always felt like a fall-back to these other privileged spaces in my mind, and for good reason. Though direct, quick-and-dirty and getting the job done for the most part, porn lacks something essential to desire, to sex: touch. These arenas I describe provide a context for touch and a real time one-to-one interaction that is becoming increasingly more important and unavailable. 

Spending time in strip clubs across the U.S., I find something interesting yet not so surprising happens: people quickly open up. The awkwardness of being seen in a place like your local strip club melts away in an instant behind the closed doors, and an intimate ease comes forth. The low lights and typically recessed seating below the stages stake off a specific arena for erotic play with clear-cut boundaries. I’ve eavesdropped on numerous conservations between strippers and clients, men and women of all sexualities, and they are remarkably docile and cheerful, very inquisitive, albeit sometimes a little shy. Women seem to have a refined understanding of pleasure and people of all creeds are drawn to our innate knowledge of carnal ambiguities. In discussing the pornographic nature of the strip tease or naked body, people also want to talk with these women about their bodies, interests, and peculiarities in relation to their own, ultimately gaining a better understanding of themselves and others in the process. When women facilitate touch, touch facilitates acceptance and understanding. Porn cannot necessarily answer your burning questions on how to please a woman, but a woman probably can. 

To be able to see and converse with a real person in a sexual context with distinct boundaries is an important interaction – and one I feel should be encouraged and coveted as a sexual savior amidst a sea of pornographic images. Touch, or the possibility for touch, makes all the difference.

Although I encourage all genders and sexualities to touch more, I focus on straight men here because they tend to reject the idea of being touched as it goes against the prescribed masculine position of assertive doer. To be touched could be likened to being held, being acted upon rather than in pursuit of action. I see an inconsistency here. The drive to participate in any sort of sexual spectatorship comes from a desire to get off, to be connected, to be with someone and that “with” denotes a want to touch them – someone, something, to be in unison, 1+1. Touch is the literal connection between us and unifies our experience. Touch is also reciprocal. When I touch you, you also touch me. I’ve felt the power in someone’s casual graze of my arm or playful grab of my side. It’s unparalleled – incredibly exciting and comforting to feel someone’s body come in contact with mine. I’m there with them in an instant. I find I surprise men when I touch them before they touch me. They like the change and surrender to being touched, a passive appreciator of my invitation to intimacy.

In a recent conversation with a sex therapist friend, we were discussing porn’s bad rap. I told him I never felt bad about porn, just that it sometimes made me feel gross afterwards. I wondered why. He asked when those gross feelings came to the surface and we deduced that it was after a period of continual porn watching with subsequent masturbation. He summed up the “is porn good or bad” controversy in a neat way that I liked and that I frequently share with my clients and friends dealing with sexual loneliness and/or heavy porn consumption. Think about porn like your go-to delicious greasy food and eating as masturbation. The occasional treat yourself moment can be tasty and it certainly won’t ruin your body if practised here and there.


"Strip clubs, massage parlors specializing in extracurriculars, professional domination sessions, escort services, physical smut – these are all ways in which sexual urges can be evenly distributed, demystified, and depressurized."


In a similar vein, eating is essential and keeps us alive and alert, it can even be fun and exciting, relaxing sometimes. However, if your entire diet becomes that delicious greasy item, then you are likely going to run into some problems, mentally and physically, during your slow build binge. Use your common sense and don’t overdo it. Though, do have as many sexual experiences (including masturbation) as you wish. Remember, I liken this to eating; it is healthy and good to do so.

There are small seemingly innocuous ways to do this. Annie Sprinkle and her partner Beth Stephens have coveted the term ecosexual and are currently making work based on “intersections of sexuality and ecological relations.” In my own similar experience of collecting erotica, I find the simple act of touching the magazines, the books, even seeing the typeface contributes to the objectness, the sexual nature, of the material itself. To touch the image, to touch the thing that contains the words is a sexual experience that I would liken to a modern day sexual encounter. Touch is inherently fetishistic as it signifies objecthood which gets me off.

Strip clubs, massage parlors specializing in extracurriculars, professional domination sessions, escort services, physical smut – these are all ways in which sexual urges can be evenly distributed, demystified, and depressurized. Varying a sexual diet assists in understanding our desires, and talking with like-minded folk helps to normalize our experiences with our bodies and others’ bodies, as well. Instead of having a one-to-one relationship between yourself and a screen, these other arenas offer up the benefit of having another person present that you interact with and casually discuss your likes/dislikes, fantasies, and so forth. While I do not disparage porn or its performers, I do privilege seeing a body before me under lights, on a stage, sitting next to me, on top of me, below me, kissing me and touching me as an absolute sexual essential.


Audra Wist is an artist, writer, social commentator and provocateur - she is also an avid collector of erotica and erotic ephemera. She is also a professional dominatrix based in Los Angeles specializing in all sorts of punishment and humiliation. As Autre's sex editor at-large she will be covering all sorts of naughty content in the realm of sex and sexuality – from masturbatorial musings to photographic editorials. Follow Autre on instagram: @AUTREMAGAZINE


Creamed His Corn: Read Luke Goebel's Newest Stream Of Lascivious Consciousness In A Short Story About Desire, Fantasy And Wanting a Bigger Everything

photograph by Maurizio Cattelan and Pierpaolo Ferrari

He was a “he,” which meant the dummie knew already that there was only two things in the world that mattered and he wasn’t either of them. Were, were! There was the online world of instagram photos and sexiness. Everything that was young or female and sexy or famous and rich and arching its back in a photo, which he wasn’t and then there was the physical world of problems, such as taking a shit and what was written on the wall, and having to go upstairs to take a shit because someone was already in the bathroom, which was the janitor, probably, and him being on campus, and him being in his office, and his being on campus, and him being a fuckhead professor, which you shouldn’t and couldn’t really even say as a fuckhead who was a professor. Fuckhead. click here to read the full story