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The pioneering depiction of male nudes by the Cypriot painter Andreas Karayan (b. 1943) caused quite a stir in the Cypriot art scene, when exhibited from the late 1970s onwards. Using Constantine Cavafy’s poetry as a starting point and recurring reference, Karayan portrays the male nudes as both sexual(ized) subjectivities, as well as, and because of their eroticism, embodiments of social protest and queer subversion. Even more subversive, however, are some other works, from the late 1970s and through the 1980s: images of (fully dressed) young men in public spaces – bus stops, streets, coffee shops – and of sailors and soldiers in seemingly banal conditions (for instance, resting before or after an official parade). Such works, for the first time in Cypriot art, not only brought, literally, into the open, (homo)erotic desire (gazes are exchanged, seeking response, or are directed toward the viewer), but they are also imbued with political irony and critique that interrogate issues, and queerly subvert discourses, of power, desire, and national and other ‘sacred’ symbols of collective identity.

In this article, Steven Baboun interviews Jesse Egner about his photographic series, Disidentifications—a series of absurd, unusual, and playful portraits of queer individuals meant to evoke the uncanny, humor, and curiosity. Inspired by the theory of disidentification as described by queer theorist José Muñoz, this series examines the liminality of disidentities that neither identify nor counter-identify with a dominant ideology. As a gay man with a non-normative body, Egner has experienced extensive rejection from members of his fellow gay community, forcing him into a precarious relationship with himself. The playful and performative acts and symbols in these photographs reflect this relationship, while the fragmented narratives and uncertainty—existing in a space between reality and fantasy—reflect the liminal space of queer identity. [ABSTRACT FROM AUTHOR]