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\n



Representation


Creative Industry

T: 888-555-1234

E: info@creativeindustry.org


Studio


351 Paris Hill Ave.

Forest Hills, NY 11375



Clients


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History


Netus et malesuada fames ac. Penatibus et magnis dis parturient. Aliquam sem et tortor consequat id. Vitae et leo duis ut. Sed cras ornare arcu dui vivamus arcu felis bibendum. Gravida rutrum quisque non tellus orci ac auctor. Aenean sed adipiscing diam donec adipiscing tristique risus. Nulla aliquet porttitor lacus luctus accumsan tortor posuere. Dictumst vestibulum rhoncus est pellentesque elit. Tincidunt nunc pulvinar sapien et ligula ullamcorper malesuada proin. Sed odio morbi quis commodo odio aenean. Sem viverra aliquet eget sit amet tellus cras adipiscing enim. Rhoncus est pellentesque elit ullamcorper dignissim cras tincidunt lobortis. Eget est lorem ipsum dolor sit. Sed felis eget velit aliquet. Tortor aliquam nulla facilisi cras fermentum odio eu feugiat.


Adipiscing at in tellus integer feugiat scelerisque varius morbi. Sagittis eu volutpat odio facilisis mauris sit amet massa. Consequat interdum varius sit amet. Enim nunc faucibus a pellentesque sit. Aliquam etiam erat velit scelerisque. Ultrices gravida dictum fusce ut placerat orci nulla pellentesque dignissim. Quis auctor elit sed vulputate mi sit. Curabitur vitae nunc sed velit dignissim sodales ut eu. Interdum posuere lorem ipsum dolor. Rhoncus urna neque viverra justo nec ultrices dui sapien. Praesent tristique magna sit amet purus gravida quis. Nunc eget lorem dolor sed viverra ipsum nunc. Dui vivamus arcu felis bibendum ut tristique et egestas. Ut eu sem integer vitae justo eget. Ut enim blandit volutpat maecenas volutpat blandit aliquam etiam erat. Pellentesque eu tincidunt tortor aliquam nulla facilisi cras.


Congue eu consequat ac felis donec et odio pellentesque diam. Ullamcorper eget nulla facilisi etiam dignissim diam quis enim. Orci phasellus egestas tellus rutrum tellus pellentesque. Laoreet non curabitur gravida arcu. Enim sed faucibus turpis in eu mi bibendum. Mi quis hendrerit dolor magna eget est lorem ipsum dolor. Sed risus ultricies tristique nulla. Magna fermentum iaculis eu non diam phasellus vestibulum lorem sed. Tristique nulla aliquet enim tortor at auctor urna nunc. Rutrum quisque non tellus orci ac auctor augue mauris. Quis lectus nulla at volutpat diam ut venenatis. Pellentesque elit ullamcorper dignissim cras tincidunt lobortis feugiat vivamus. Eget lorem dolor sed viverra ipsum. Risus nullam eget felis eget nunc lobortis. Dui sapien eget mi proin sed libero enim sed faucibus. Sed sed risus pretium quam vulputate. Quam quisque id diam vel quam elementum. Posuere lorem ipsum dolor sit amet consectetur adipiscing elit duis. Velit laoreet id donec ultrices tincidunt.


Ipsum dolor sit amet consectetur adipiscing. Nulla facilisi etiam dignissim diam quis enim lobortis. Condimentum id venenatis a condimentum. Tincidunt arcu non sodales neque sodales ut etiam sit amet. Varius sit amet mattis vulputate enim nulla aliquet porttitor. Elit at imperdiet dui accumsan sit amet nulla facilisi. Sit amet consectetur adipiscing elit duis tristique. Eget duis at tellus at urna condimentum mattis pellentesque. Quis enim lobortis scelerisque fermentum dui faucibus in ornare quam. Tellus molestie nunc non blandit massa enim nec. Amet volutpat consequat mauris nunc congue nisi vitae. Fermentum posuere urna nec tincidunt praesent semper feugiat nibh sed.

","size":{"content":{"width":0,"height":0},"thumb":{"width":0,"height":0},"featuredImage":{"height":0,"width":0},"bytes":0},"key":"10161","overrides":{},"filters":["Demo Text Pages"],"dateAdded":"2017-08-24T21:55:22.075Z","linkTarget":""},"10163":{"id":10163,"label":"About","caption":"","type":"html","content":"\n
\n\n
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STUDIO

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LA | NYC\n(800) 555-1212\njohn@domain.com
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social icons
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REPRESENTATION

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Contact Name\n(800) 555-1212\njohn@domain.com
\njohn@domain.com
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SYNDICATION

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Contact Name\n(800) 555-1212\njohn@domain.com
\n

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\n\n\n
\n

ABOUT

\n\n

Sed felis eget velit aliquet sagittis id consectetur. Condimentum id venenatis a condimentum vitae sapien pellentesque. Lacinia at quis risus sed vulputate odio ut enim blandit. Vestibulum lorem sed risus ultricies tristique nulla aliquet enim tortor. Turpis in eu mi bibendum neque egestas congue. Nulla porttitor massa id neque aliquam vestibulum morbi blandit cursus. Pellentesque elit eget gravida cum sociis natoque penatibus et magnis. Accumsan in nisl nisi scelerisque eu ultrices vitae auctor. Fusce id velit ut tortor pretium viverra suspendisse. Faucibus turpis in eu mi bibendum neque egestas congue. Sed viverra tellus in hac habitasse.

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Id cursus metus aliquam eleifend. Tempus egestas sed sed risus pretium quam vulputate. Tellus in hac habitasse platea dictumst vestibulum rhoncus est. A cras semper auctor neque vitae tempus quam. Sit amet consectetur adipiscing elit ut aliquam purus sit amet. Purus in mollis nunc sed id semper risus in. Quisque egestas diam in arcu cursus euismod quis. Enim diam vulputate ut pharetra sit. Vitae elementum curabitur vitae nunc. Nibh ipsum consequat nisl vel pretium lectus quam id. Purus in mollis nunc sed id. Phasellus egestas tellus rutrum tellus pellentesque eu tincidunt tortor aliquam. Enim sit amet venenatis urna cursus. Non sodales neque sodales ut etiam sit. Luctus accumsan tortor posuere ac. Lacus viverra vitae congue eu consequat ac. Viverra justo nec ultrices dui sapien eget mi. Eget aliquet nibh praesent tristique magna sit amet. Non quam lacus suspendisse faucibus.

\n\n\n

CLIENTS

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\nWal-Mart\nExxon\nChevron\nPhillips\nBerkshire Hathaway\nApple\nGeneral Motors\nGeneral Electric\nValero Energy\nFord Motor\nAT&T\nFannie Mae \nCVS Caremark\nMcKesson\nHewlett-Packard\nVerizon Communications\nUnitedHealth Group\nJ.P. Morgan Chase & Co. \nCardinal Health\nInternational Business Machines\nBank of America Corp.\nCostco Wholesale\nKroger\nExpress Scripts Holding\nWells Fargo\nCitigroup\nArcher Daniels Midland\nProcter & Gamble\nPrudential Financial\nBoeing\n
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\nBoeing\nFreddie Mac \nAmerisourceBergen\nMarathon Petroleum\nHome Depot\nMicrosoft\nTarget\nWalgreen\nAmerican International Group\nINTL FCStone\nMetLife\nJohnson & Johnson\nCaterpillar\nPepsiCo\nState Farm Insurance Cos.\nConocoPhillips\nComcast\nWellPoint\nPfizer\nAmazon.com\nUnited Technologies\nDell\nDow Chemical\nUnited Parcel Service\nIntel\nGoogle\nLowe's\nCoca-Cola\nCisco Systems\nLockheed Martin\n
\n
\nBest Buy\nSafeway\nFedEx\nEnterprise Products Partners\nSysco\nWalt Disney\nJohnson Controls\nGoldman Sachs Group\nCHS\nAbbott Laboratories\nSears Holdings\nDuPont\nHumana\nWorld Fuel Services\nHess\nIngram Micro\nPlains All American Pipeline\nHoneywell International\nUnited Continental Holdings\nOracle\nLiberty Mutual Insurance Group\nHCA Holdings\nDelta Air Lines\nAetna\nDeere\nSupervalu\nSprint Nextel\nMondelēz International\nNew York Life Insurance\nAmerican Express\n
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","size":{"content":{"width":0,"height":0},"thumb":{"width":0,"height":0},"bytes":0,"featuredImage":{"height":0,"width":0},"pageImages":[]},"linkTarget":"","overrides":{},"dateAdded":"2017-08-25T00:17:54.268Z","key":"10163","postDate":"2022-09-03T17:55:11.852Z","filters":["Demo Text Pages"]},"10164":{"id":10164,"label":"Adam Donen Text","caption":"","type":"html","content":"
\n \n\n

OBSERVATIONS ON MAGNUS ARREVAD

\n

BY ADAM DONEN

\n\n

\"Holy the sea holy the desert holy the railroad holy the locomotive holy the visions holy the hallucinations holy the miracles holy the eyeball holy the abyss! Holy forgiveness! mercy! charity! faith! Holy! Ours! bodies! suffering! magnanimity! Holy the supernatural extra brilliant intelligent kindness of the soul!\" – Allen Ginsberg, Footnote to Howl.

\n\n

Magnus Arrevad's work shares a soul with the Beatniks. His photography is urban poetry, bringing out truths far more important than mere facts. Like the Beats, his subjects tend to be outsiders. His choice of naturally emotive scenes, from male burlesque performance to street protest, no doubt plays a role in the immediate thrill and intensity of his work. And the work is intense. But this is the least important of the qualities that recommend it. What defines his work is its honesty, and not in any banal or dry way.

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In Joe Black, the finest of his portraits, the subject is removed from the world – shot against a uniform black background, in garb that recalls Klaus Nomi, with a cigarette up each nostril, Black appears a grand, alien, theatrical entity. But on closer examination, something in the crinkling of his eyes tells an opposite story: his gaze is strained rather than magisterial, even a trifle haunted. Perhaps the angle of the mouth also contributes. One way or another, Arrevad managed to catch a brief flicker of vulnerability.

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Arrevad's images have a way of capturing not just the physicality of their subjects, but the highly personal energy that burns inside them. His pictures are not trickery, not exploitative and are grand because they are natural: the work is affecting because it is not affected. The sensitivity required to achieve this cannot be overstated, particularly where so many of those he shoots would appear as caricature in the hands of a lesser talent. His style does not draw attention to itself – this is as it should be. Yet it is instantly recognisable.

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The comparisons with Robert Frank are obvious, but the more appropriate ancestor would be the poet Allen Ginsberg. Like Ginsberg, there is an all-pervasive joy and empathy. The work engages. It brings its subjects to life, rather than capturing them as an anthropologist might pin butterflies. And like all great art, it reaches towards the transcendental, a sense that eludes words or technical description, that manifests itself behind the eyes and in the depths of the soul.

\n\n
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“His work suggests a layer beyond both the self we are and the self we perform—something that flickers between the two.”

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— Adam Donen

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Adipiscing at in tellus integer feugiat scelerisque varius morbi. Sagittis eu volutpat odio facilisis mauris sit amet massa. Consequat interdum varius sit amet. Enim nunc faucibus a pellentesque sit. Aliquam etiam erat velit scelerisque. Ultrices gravida dictum fusce ut placerat orci nulla pellentesque dignissim.


Quis auctor elit sed vulputate mi sit. Curabitur vitae nunc sed velit dignissim sodales ut eu. Interdum posuere lorem ipsum dolor. Rhoncus urna neque viverra justo nec ultrices dui sapien. Praesent tristique magna sit amet purus gravida quis.


Nunc eget lorem dolor sed viverra ipsum nunc. Dui vivamus arcu felis bibendum ut tristique et egestas. Ut eu sem integer vitae justo eget. Ut enim blandit volutpat maecenas volutpat blandit aliquam etiam erat.


Pellentesque eu tincidunt tortor aliquam nulla facilisi cras.


Interdum posuere lorem ipsum dolor. Rhoncus urna neque viverra justo nec ultrices dui sapien. Praesent tristique magna sit amet purus gravida quis. Dui vivamus arcu felis bibendum ut tristique et egestas. Ut eu sem integer vitae justo eget. Ut enim blandit volutpat maecenas volutpat blandit aliquam etiam erat. Curabitur vitae nunc sed velit dignissim sodales ut eu. Interdum posuere lorem ipsum dolor.


Praesent tristique magna sit amet purus gravida quis. Dui vivamus arcu felis bibendum ut tristique et egestas. Ut eu sem integer vitae justo eget. Ut enim blandit volutpat maecenas volutpat blandit aliquam etiam erat. Curabitur vitae nunc sed velit dignissim sodales ut eu. Interdum posuere lorem ipsum dolor.


Sagittis eu volutpat odio facilisis mauris sit amet massa. Consequat interdum varius sit amet. Enim nunc faucibus a pellentesque sit. Ultrices gravida dictum fusce ut placerat orci nulla pellentesque dignissim.\tUt eu sem integer vitae justo eget. Ut enim blandit volutpat maecenas volutpat blandit aliquam etiam erat. Interdum posuere lorem ipsum dolor.\tAliquam etiam erat velit scelerisque. Ultrices gravida dictum fusce ut placerat orci nulla pellentesque dignissim. Sagittis eu volutpat odio facilisis mauris sit amet massa. Consequat interdum varius sit amet. Enim nunc faucibus a pellentesque sit.


Adipiscing at in tellus integer feugiat scelerisque varius morbi. Sagittis eu volutpat odio facilisis mauris sit amet massa. Consequat interdum varius sit amet. Enim nunc faucibus a pellentesque sit. Aliquam etiam erat velit scelerisque. Ultrices gravida dictum fusce ut placerat orci nulla pellentesque dignissim.




Editorial


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Commercial


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Awards & Accolades


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\t\t\t\t\t\t\t Praesent tristique magna sit amet purus gravida quis


2014\t\t\tCurabitur vitae nunc sed velit dignissim sodales ut eu

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2013\t\t\tAliquam etiam erat velit scelerisque


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\t\t\t\t\t\t\tCurabitur vitae nunc sed velit dignissim sodales ut eu




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City by the Bay


July 03, 2017


I left Los Angeles in route to San Francisco the morning of July 3rd. I had recently been in the Dominican Republic and I was eager to get back to the bay! In fact our entire crew was glad to be back in the golden city. Here's some pics from our time there.

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Golden Bridge?


July 04, 2017


Some visitors wonder why the bridge isn't gold, like made from actual gold (or at least gold painted). Others, like me, have long mistaken it for red. The color is actually called 'international orange' - a variation on the color used now for many astronaut jumpsuits. It was a beautiful accident. The steel parts arrived in an orangey red primer, which was quickly recognized to meld best with the scenery.




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CONTACT


Purus sit amet volutpat consequat. Non sodales neque sodales ut etiam sit amet. A cras semper auctor neque vitae tempus quam pellentesque. Et leo duis ut diam quam nulla porttitor massa id. Vel pharetra vel turpis nunc eget lorem dolor. Et molestie ac feugiat sed lectus vestibulum.


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Email Me


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Taipei


May 17, 2017


Although we had never been to Taipei before, it felt very comfortable. Taipei offers a unique blend of what people love about South East Asia, combined with what people love from North East Asia. As soon as we reached Taipei Main Station, we went to collect our train tickets to Hualien at the ticket counter.


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Quiraing on the Isle of Skye


April 12, 2017


This is Scotland, and the weather can be unpredictable. Or maybe it is predictable, if you just expect it to be foggy and rain all of the time. Which it was during our three day visit to Quiraing. But it is gorgeous, even in the rain and fog.




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\n\n
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CONTACT 2

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bla vla\n\n

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Elevate your space with world-class design.

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\nContent for demo purposes only.\n
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COMMERCIAL

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RESIDENTIAL

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HOSPITALITY

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A signature look. A whole new level.

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CONTACT

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Emma

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\nemma@magnusmandel.com\n
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THE ADRANOS COLLECTIVE
1820 Avenue M, Suite #1085, Brooklyn, NY 11230
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powered by photofolio®
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“The performances are debauched, magical and often hilarious, but underpinning it all is a grave sense of purpose; to bring the dream of oneself into being. What the subjects of Boy Story have allowed me to do is to watch them constructing their inner selves.”

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BOY STORY: A Picture Book for Boys


CLICK HERE TO BUY


THE REAL HEDWIGS

- New York Times


★★★★★

- Jyllands-Posten


Capturing the World of Male Burlesque Means Learning to Walk in Thigh High Boots

- VICE


Boy Story is a photographic project developed between 2009 and 2015, following an international network of male performers working across burlesque, cabaret, go-go dancing, and pornography.


Photographed in cities including Berlin, New York, Paris, London, and Copenhagen, the work focuses not on performance itself, but on what surrounds it. Backstage, in dressing rooms and temporary spaces, performers are seen in the process of constructing themselves. Applying make-up, assembling costumes, preparing to step into a version of themselves that cannot always exist in daylight.


Rather than documenting spectacle, the images attend to moments of transition. Identity here is not fixed, but made, tested, and performed.


The book brings together 105 black and white images across 214 pages.


Designed by LSD Studio, London, this hardback edition measures 29 × 29 cm and weighs 1.9 kg.


The first edition is limited to 1000 copies.


A limited number of copies from the original edition are available.





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REVIEW: MAGNUS ARREVAD’S BOY STORY, BY DANIEL PATEMAN

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Posted in London Photo Diary on January 13th, 2016

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Needling through the disparate throng of tourists and sight-seers on Great Russell Street, splashing in grey puddles and sopping wet at the edges, I go round in dizzying circles trying to find my destination. I peer in the rain at my iPhone, instructed that I have arrived, and look up to see a cordoned off, peeling façade where A Beautiful World should be situated, an exhibition I’ve come to visit. Damp and starting to chafe in innumerable ways, I wheel around a few more times to see if I can find alternative entry, but pass only stony faced doors refusing to yield. I’m about to leave when I spot a pink neon sign jutting out into a rather drab street, and I approach intrigued. A doorway looms, leading into a bright cavernous room. I step inside, and enter a different world to that I had anticipated.

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This I discover is the home of Boy Story, an exhibition of photographs the culmination of 5 years work by Magnus Arrevad. They vividly document the international, subterranean scene of male performance, taken in cities ranging from New York to London, Copenhagen, Berlin and Paris, with cabaret performers, drag queens, strippers and go-go dancers all forming part of his eclectic tapestry. His shots strike a perceptive balance between realism, fetishism and subjectivity; refreshing given his approach could have so easily been sensationalist. Shot in black and white, rich with detail and displaying a striking, expressionistic use of light and shadow, Arrevad’s style bestows a solemn dignity on the performers. His work underlines the seriousness of their personal transformations, depicting not only the creation of a new external self, but documenting an internal journey. In Arrevad’s words, he captures them bringing “the dream of oneself into being.”

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Making the conscious decision not to photograph his subjects as their final incarnation but instead during quiet moments off stage (in contemplation, preparing for a routine) Arrevad is able to explore something more psychologically incisive; the delicate journey of ‘becoming’. This is deftly expressed in a number of shots. Through the motif of mirrors to reflect back the idealised self, the camera captures a tension between the objective and the subjective. The picture of Felicity Carmichaels for example, his back to the camera, juxtaposes his short hair in the right hand side of the frame with the image of his arched eyebrows, focused gaze and mascara-clad lashes in a small round mirror, channelling the look of the drag queens pictured in front of him. In another shot blurring ‘being’ and ‘becoming’, a man in a mask, out of focus in close up, stands on the left hand side of the frame. On the right is a reflection of an identically dressed man. Set further back, he is in clear focus, a chiselled torso on display with leather straps snaking around it. It could almost be the same person, picturing an imagined, phantasy version of himself in the mirror. Through a blurring of subject and object, reality and phantasy, Arrevad articulates this process of ‘becoming’ an idealised self.

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For many performers their transformations are a process of liberating themselves “from the roles they observe through the daylight hours.” This resultant sense of freedom is visible in one of Arrevad’s shots of a Marie Antoinette styled drag-queen, with large wig and elaborate gown, kicking his heel up on a rooftop overlooking New York. His subjects are shown bringing their idealised selves to life through their physicality, make-up or costume, allowing them to live the fantasy of themselves. Rather than understanding their self-created identities as personas, Arrevad describes how “the application of make up each night was [a process] in which a mask was taken off, not put on.” Similarly, his own personal journey, chronicled in more depth in his book Boy Story: A Picture Book For Boys, was equally transformative; taking him from being a “sheltered Danish photographer” to a fully immersed participant in the world of ‘Boylesque’, which he says “became my idea of being myself. I was learning, and I felt free.”

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\n","thumb":"review2.jpg","size":{"content":{"width":0,"height":0},"thumb":{"width":4200,"height":2400},"pageImages":[],"bytes":0,"featuredImage":{"height":0,"width":0}},"postDate":"2026-01-23T06:49:45.876Z","key":"10966","filters":[],"dateAdded":"2023-06-04T20:38:44.213Z","linkTarget":"","overrides":{}},"10967":{"id":10967,"label":"The Extended Moment","caption":"","type":"html","content":"\n
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The Extended Moment

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4 Kilometres and 4 Hours in 1 Photograph

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A moment is always shaped by its before and after. I want my photographs to give a small hint of that.

— Magnus Arrevad\n\n

The Extended Moment is my ongoing exploration of time, movement, and public life. Working with a modified medium-format camera, I layer multiple exposures onto a single negative, collapsing minutes, hours, and sometimes even kilometres into one frame. This entirely analogue process transforms fleeting instants into immersive, large-scale works that stretch beyond the boundaries of conventional photography.

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The resulting images — often several metres long — invite viewers to move alongside them, encountering overlapping figures and gestures that hover between presence and disappearance. Each photograph becomes a landscape of time: a weaving together of different rhythms, perspectives, and encounters.

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Through this work, I want to resist today’s fast, frictionless consumption of images. Instead, I invite people to look longer, to trace stories and relationships within the frame, and to reflect on how our collective and individual lives unfold in shared space.

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“Was I a voyeur?


Yes, but who wouldn’t, be given the chance”


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Exhibitions


Boy Story, Solo Exhibition, Willoughby Space, London, UK, December 2015–February 2016.


Fugitive Absorption – A Photographic Atlas, Group Exhibition, PAKD Gallery, Berlin, Germany, November 22 - December 11, 2024.


Answering Adversity, Group Exhibition, Young Photographers’ Alliance Mentoring Program Exhibition, Calumet Gallery, New York City, USA, January 14–28, 2011.

\n

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Till Death Does Me Part

My wedding night was as bad as my teenage years.

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Schrödinger's Silver Fox TEXT VERSION

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Schrödinger's Silver Fox

(Unlocking the mystery of my greying hair: it took a decade to reveal itself, only when I let it grow did I find the answer.).

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The Dress

A woman I was with once told me she could never be with a man who liked to dress up in women’s clothes. I had no desire to do so, but I didn’t like being told what I couldn’t do. So, I bought a dress.

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Chelsea Flower Show, 2007

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The Eye Has It

I had an eye tattooed on my chest to understand what it feels like when people focus on my chest instead of my face. As for the rest of the ink, I’m still figuring that out.

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Financial Crisis

Bank, London, 2009.

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Make Magnus Great Again

Magnus is already great, 2018

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Chloé Giacometti

Irish singer-songwriter, London Soho.

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Sunny

Road tripping from Seattle to LA. Out of money Sunny found a way to pay for petrol.

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Argentina

Digital Print, 2016

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Berlin Tempelhof

Digital Print, 2020

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USA, 2013, Digital Print

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And more to come




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Thrilled to premiere The Extended Moment at Kunsthalle München’s 40th-anniversary exhibition CIVILIZATION – The Way We Live Now, running from 11 April to 24 August 2025.

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ABOUT


Magnus Arrevad is a Danish photographer working primarily with analogue processes and long-form documentary projects. His practice examines how time, space, and human presence can be articulated, layered, and reconfigured within the photographic image.


He first gained international recognition with Boy Story, a five-year project documenting the off-stage lives of male performers - from burlesque dancers to adult film actors - across Europe and North America. Shot on black-and-white film, the work shifts attention away from performance toward moments of preparation, rehearsal, and transition, where identity emerges as constructed, provisional, and negotiated.


Boy Story was exhibited in London, published as a photobook, and is held in the permanent collection of the Victoria and Albert Museum.


Since 2018, Arrevad has been developing The Extended Moment, an ongoing body of work that challenges the notion of the photographic instant. Using a self-devised analogue process, he translates duration into a material condition of the image.


The resulting works - often several metres in width - register extended sequences of movement and encounter, examining how bodies, gestures, and presence accumulate within shared space over time. Rather than isolating a decisive moment, the images invite sustained viewing and a spatial reading of time.


Arrevad’s work has been published internationally, including in The New York Times Sunday Magazine. He lives and works in Berlin.





Exhibitions


Civilization – The Way We Live Now, group exhibition (three works)

Kunsthalle München, Munich, Germany, 2025


Fugitive Absorption – A Photographic Atlas, group exhibition

PAKD Gallery, Berlin, Germany, 2024


Boy Story, solo exhibition

Willoughby Space, London, UK, 2015–2016


Answering Adversity, group exhibition

Calumet Gallery, New York City, USA, 2011














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REVIEW: BOYSTORY – GENDER FLUIDITY IN THE TIME OF THE NON HETERONORMATIVE REAL, BY MARIO GALEANO


Posted in Juliet Art Magazine on January 20th, 2016


Boystory is an exhibition focusing on the fluidity of the human becoming. Magnus Arrevad captures this becoming through photos of drag queens, go-go boys, strippers and porn actors whilst they are getting ready. By putting on the mask in fact, the performers unmask themselves as if the performance became life and life became performance.


Judith Butler, for instance, wrote about this connection both in Gender Trouble (1990) and in Bodies That Matter (1993). In her analysis, everyday life is the result of constant mediations with the power strategies that shape society. Judith Butler has been particularly interested in the way through which subjects are being created by the experience of gender distinctions perceived as natural and inevitable. In her analysis subjects don't only internalise positions imposed by society (like the cultural norms linked to ideas of femininity and masculinity); but they also live in a constant state of struggle at an unconscious level. These contradictions are part of the processes of subjectification commonly shared and are made visible by the performers captured in the exhibition's photos; the subjects portrayed present just some examples of refusal of a heteronormative system through irony or even just through the contamination of exclusively binary definitions of being male and female.


Magnus Arrevad's photos reflect in a way this train of thought, opening the cages of the politically correct subject's shadows. Achromatic visions of dark basements are the landscapes for those performers whilst getting ready. Powder and dust, natural and artificial light get mixed, opening up to the performing subjects a world where society is suspended, unstable. The gender, class and race regimes are enveloped and unmade by those liberated shadows.

This sort of parallel universe (though still deeply woven in between society's layers) is populated by subjects that question an ideal of political, social and biological stability through the modification of their appearance and the performance. Before jumping to rushed conclusions, It is important to keep in mind how the idea that a specific anatomical sex should allow or need only some specific rights or roles within society is solely cultural; the concept of gender serves mainly the purpose to deconstruct these ideas in order to recognise a distinction between cultural and biological aspects of the being human connected but not absolutely determining each other.


Two examples of hybrid attitudes of the contemporary that question fixed and pre-established hierarchies are gender fluidity and gender hacking. The term gender fluid defines a type of gender identity that can change throughout time for a person. This means that a subject can at times identify himself as male, female, other non-binary identities or some combination of identities all together. Another example of managing identity by refusing an idea of gender strictly fixed and binary, in favour instead of a more open and variable vision, is gender hacking. Beatrix/Paul Preciado defines gender hackers in Testo Junkie (2013) as those \"users who consider sex hormones free and open biocodes, whose use shouldn't be regulated by the state or commandeered by pharmaceutical companies\" (55).


Boystory reflects similar kinds of potential; it argues against an idea of being fixed and stable, in favour instead of a constantly moving becoming. Photographing the process of transformation of the subjects embodies this idea of mutation; particularly, the mobility within this process is represented by two recurring elements in the pictures: the mirror and the fetish.


On the one hand the reflected image is functional to the practical coming to life of the performer, to the application of the make up, to the creation of the mask. On the other hand, the mirror represents the Other as something that is both same and alien to the Self. In both cases anyway the object embodies the liberating process of the putting on a mask to unmask oneself; as for Alice, and for the subjects portrayed, the mirror is not an empty and meaningless surface, but represents instead the liminal threshold through which a person needs to go in order to bring the Self to light. This idea of liminal threshold can be found, for instance, in Victor Turner's ritual (1967). Borrowing the concept of liminal space from Arnold Van Gennep, Victor Turner identifies the liminality present in the ritual (like, for example, an initiation one) as a fundamental attribute for the subversion and reconstruction of social norms. It is the suspension of norms and structures socially shared that allows the successful outcome of a ritual. During the liminal stage of a ritual, in fact, differences and hierarchies commonly accepted disappear in order to be eventually reconfirmed afterwards; it is this subversive potential that is reflected by Magnus Arrevad's mirrors, being confirmed again by the performance though.


The world of social sciences can help comprehending the other key element of Boystory too: the fetish. The term fetish identifies an inanimate object charged with particular meaning or function; in the case of aboriginal tribes or religions in general, for instance, it usually conveys a sense of sacred by embodying the god/s. The development of sciences interested in sexuality between twentieth and twenty first century then made it possible for this term to be used to identify inanimate objects charged with particular meanings for the stimulation of the Libido. For the subjects portrayed in Boystory, the various fetishes (shoes, wigs and S&M related ones in particular) are not considered as punishable deviations, but as instruments for the production of new subjects and new meanings; the different fetishes represent the other liberating aspect of the gender mixed performance, internalising the Other through the intrinsic stimulation of desire and libido.


To summarise the trajectory of those movements with the words of the photographer: \"I was fascinated by the processes and preparations through which the performers visibly liberated themselves from the roles they observed through the daylight hours. They had invented a world in their own image, with their own gods and their own ceremonies. It wasn't just about sexuality, though of course this was a large part. It was about being. The application of makeup each night was one in which a mask was taken off, not put on. I wanted to document this process of liberation\".


The representation of individuation processes through the modification of bodies presented by this exhibition reflects some of the new directions developing within social and cultural processes. Boystory shows the revolutionary potential of the manipulation of the body through the performance. It makes visible in particular how a performance developed through the materiality of a body can shatter the old and rebuild a new collectively shared order between what is considered Other and what Normal, between what is considered real and what is real for a person.


BIBLIOGRAPHY

Butler, J. (1990), Gender Trouble: Feminism and the Subversion of Identity. London and New York: Routledge.

Butler, J. (1993), Bodies that Matter: On the Discursive Limits of 'Sex'. London and New York: Routledge.

Preciado, P (2013), Testo Junkie: Sex, Drugs and Biopolitics in the Pharmacopornographic Era. New York, N.Y.: Feminist Press.

Turner, V. (1967), The Forest of Symbols: aspects of Ndembu ritual. Ithaca, N.Y.: Cornell University Press.



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Sed felis eget velit aliquet sagittis id consectetur. Condimentum id venenatis a condimentum vitae sapien pellentesque. Lacinia at quis risus sed vulputate odio ut enim blandit. Vestibulum lorem sed risus ultricies tristique nulla aliquet enim tortor. Turpis in eu mi bibendum neque egestas congue. Nulla porttitor massa id neque aliquam vestibulum morbi blandit cursus. Pellentesque elit eget gravida cum sociis natoque penatibus et magnis. Accumsan in nisl nisi scelerisque eu ultrices vitae auctor. Fusce id velit ut tortor pretium viverra suspendisse. end

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V&A Museum Collection


Eight prints from Boy Story have entered the permanent collection of the Victoria and Albert Museum in London.


The photographs were made in small, private rooms - moments of transformation that felt far from institutions or archives. It’s odd, but also fitting, that they’ve found their way there.


The work is also included in Calling the Shots, the museum’s recent book on queer photography. It gathers over a century of images that look at how we perform, resist, and construct ourselves. To be part of that conversation feels steady, almost circular - as if the work has returned to the same questions that first shaped it.


The book can be purchased here.




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The Extended Moment is an ongoing photographic series exploring how time, space, and human presence can be expanded within a single image.

\n\n

Rather than isolating a decisive instant, I treat the photographic moment as elastic, shaped as much by what precedes it as by what follows. Each image brings together multiple temporal fragments, allowing different moments to coexist and unfold across the surface of the photograph.

\n\n

The series is realised through a self-devised, fully analogue process that resists digital montage and post-production compositing. Time is accumulated directly within the camera itself. This approach produces images that extend horizontally and require physical navigation, encouraging the viewer to move alongside the image and encounter people and events at eye level.

\n\n

The works are produced at a scale that emphasises duration and embodied looking. Viewers are invited to slow down, linger, and traverse the image over time, constructing meaning through sustained observation rather than immediate recognition.

\n\n

Developed across distinct locations and social situations, The Extended Moment examines how shared environments unfold over time—how gestures, movements, and relationships shift as moments accumulate. Each chapter engages with a specific context while remaining part of a continuous exploration of duration and presence.

\n\n

By extending the photographic moment, I am interested in what becomes visible when time is no longer collapsed into a single instant. The work resists simplification, allowing ambiguity, simultaneity, and complexity to remain present within the image. The viewer is not positioned as a passive witness, but as an active participant in the construction of meaning over time.

\n\n

The series spans Europe and the United States and is currently being developed in multiple chapters.

\n\n

Artist’s note

\n\n
“You want to see what happens around the frame… A moment is shaped by its before and after.”
\n\n
“We don’t know what we want, but we all know what we don’t want.”
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Boy Story is a photographic project about learning how to see what was always there, shaped by access and by being allowed to witness a world that was never hidden, only closed.


Over five years, I followed an international network of male performers: burlesque artists, go-go dancers, cabaret singers, and porn actors, moving between cities including Berlin, New York, Paris, London, and Copenhagen. What drew me in was not the performances themselves, but what happened around them. The moments before and after, when identities were assembled, adjusted, or quietly undone.


Backstage, in dressing rooms and temporary spaces, I watched performers construct themselves. Makeup, costume, gesture, not as disguise, but as a form of revelation. The act was not about becoming someone else, but about bringing a version of oneself into existence, one that could not always be lived in daylight.


The camera sits inside that tension. These images move between proximity and distance, between participation and voyeurism. There is no neutral position here, only different ways of being present.


Shot on black and white medium format film, the work embraces slowness and attention. Each frame carries the weight of decision, reinforcing the sense that these moments, fleeting, private, often fragile, matter.


Boy Story is not about spectacle. It is about the space where performance and life collapse into one another. A space where identity is not fixed, but made, tested, and performed, again and again.


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