Rob Crosse's Prime Time, commissioned by FVU in 2017, follows a group of gay men as the journey on a cruise ship through the Carribean. This summer, the film shows at the Bad Bodies 壞軀體 exhibition in Hong Kong:
Bad, the disobedient, the non-conforming, the challenging, the transgressive – not substandard, not of poor quality.
A gold-clad spirit desecrates a lotus pond with beer. A ‘Pondan’ Muslim revels in a genderless neverland. Eyelashes poke teary eyeballs. Trans-housewives concoct hormone cocktails. Older men cruise in the open sea. Counterfeit Snow Whites perform princess rituals. However disparate in form, geography, race and ethnicity, gender, and age, these works – by Ip Wai Lung, Samak Kosem, Isaac Chong Wai, Mary Maggic, Rob Crosse, and Eisa Jocson – respectively iterate on their own terms how bodies can be bad.
Being good means acting the same perfect way — but there are so many ways to be bad. Creativity and genius can be bad. Fluidity and queerness can be bad. Enjoyment and exuberance can be bad. For Father and Mother, even autonomy and independence can be bad.
Society normalizes our bodies to make sure we are good. We’d rather take flight in being bad. Just as the mechanisms of life have evolved by hacking our genetics with bad copies, we will use our bad bodies to hack the hegemonic systems of patriarchy, hetero-, and homo-normativity.