Kyrahm & Julius Kaiser’s “Human Installation I: Gender Obsolescence”

This week on the Queer Ontario Think Tank, we have Kyrahm & Julius Kaiser’s “Human Installation I: Gender Obsolescence”, a video performance work originally published on, which has been graciously lent to us by the artists for republication on the Think Tank.

[Note: this work features nude bodies]

<iframe src="" width="500" height="283" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe> <p><a href="">Human Installation I "Gender Obsolescence" Performance art by Kyrahm + Julius Kaiser</a> from <a href="">KYRAHM</a> on <a href="">Vimeo</a>.</p>
According to the artists:

This solemn ritual presents variety of genders and describes FtM (Female to Male) transition.

It’s a gynandroid performance where the transition process is intermingled with poetry. Sex is represented as skin, female, male. Gender is represented in the sense of self, of man, and of woman. A journey, a crossing, a transition. Naked bodies lined up slowly coming closer. Each individual has a story. They are holding hands. Changing sex is painful like birth. The golden masks on their faces are not to hide their identities: In fact as they come closer it is possible to distinguish their genders: a biological man, a trans man, a trans woman, a biological woman. From the bottom of the stage, a female creature unfolds from behind a black towel and goes to stand behind them: she walks across touching the bodies, one after the other. The pain is tiring, the flesh a substance to be shaped. The solemn rite of dressing up – in trousers, jacket and tie: it’s the return to the opposite. For a transsexual changing sex is not becoming a man but a return to being a man. There is no need to wear the masks anymore: the self is revealed.

About the Artists:

[Excerpted and translated from the artists’ Human Installations website]

KYRAHM is one of the key figures of live art in Italy. A conceptual artist, a video artist, a body artist, and an  international performer,  Kyrahm’s performances are built upon the powerful emotional impact that comes from knowing that everything that has been represented within her work is real. Kyrahm creates innovative concepts and works within the fields of media communications and contemporary art.

JULIUS KAISER is an Italian video maker, performance artist, and Drag King performer. Kaiser’s artistic research starts with experiments and performances that explore gendered social roles, putting forth a fluid vision of gendered embodiment(s) that is coherent with contemporary queer theory. Kaiser’s collaboration with Kyrahm has contributed an artistic element to Kaiser’s explorations, giving rise to the experimental Human Installations that have garnered them their international recognition.

Together, they perform both in the underground and mainstream Italian art scenes, which include museums, art galleries, and international art festivals.


If you, yourself, are interested in submitting a work to the Queer Ontario Think Tank, feel free to review our submission guidelines here, or simply email your work and a short description to We will let you know if we need any additional material or information.

All the best,

The Queer Ontario Think Tank Editorial Committee


  1. Venkat

    Gender is not fashion, it is a picotilal target assigned by patriarchy for directing abuse and domination. Patriarchy’s gender is real because it has picotilal consequences concrete, physical consequences for people assigned women’/’not-man’.Biology/anatomy is real the variations/differences and similarities through the human population are concrete and physical. The way that patriarchy divides up these variations and similarities into discrete categories sex’ is not real. It is a binary and discrete categorisation of a continuum of anatomy in order to justify assigning master/slave gender-roles. At birth, patriarchy takes the people that fit its male sex’ category and assigns them the target Man’. This targets them for a specific set of abuses that break them and rebuild them as weapons. At birth, patriarchy takes the people that fit any other category and assigns them the target Not-Man’/’Woman’. This targets them for abuses committed by the weaponised caste that you’re all more able to speak to than me.It is difficult for me to imagine a trans person objecting to someone assigned the Woman target at birth demanding space that is free from those assigned Man at birth, because of the Man-caste’s weaponisation.It is, however, understandable to me why a trans person would be confused when this demand for space absent weaponised humans is presented so frequently as a demand for spaces that contain real women only’. This sounds, to them, as though the gender-anatomy association that patriarchy has constructed is being re-hashed, re-emphasised, reified with an air of superiority or derision at those whose internalised gendered’-behaviour does not match’ their anatomy according to patriarchy’s prescriptions.Anyone who objects to women demanding space free from anyone assigned Man at birth, due to the enculturation toward abuse, is most probably a bigot and a misogynist seeking to disrupt or invade spaces that are intended to be safer spaces for women.Similarly, though, I don’t see why people seem to forget or omit when speaking that patriarchy’s gender is the politics of abuse, and instead seem to retreat into patriarchy’s own biological/anatomical categories and even bio-determinism in some places.

  2. Denis LeBlanc

    The Artists describe their work as a “gynandroid performance” and the reply states, “Gender is not fashion, it is a picotilal target”. Give me a break! If these individuals wanted us to understand what they post, they would use language we can all understand. While gynandroid could be understood to mean either a a hermaphrodite, or a female pseudohermaphrodite, or someone who fits neither male not female traditional roles, picotital, as a word, is not to be found.

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