Contributing artists: Amélie McKee, Baocheng Ma, Louise Ørsted Jensen and Melle Nieling.
‘Come fairly well dressed, alone or with your partner. Wearing a mask is not compulsory, but it is strongly recommended in order to preserve a mysterious atmosphere that is conducive to fantasies and naughty games. Don’t hesitate to bring your personal mask. Otherwise, we can lend you some on site. You are greeted by the staff when you enter. They will take your coat and the bar staff will ask for your name when you order your drinks. You will be shown around if it is your first visit. Now, this is the place for you, if you want to watch, be watched. The titillating show will feature acts such as Private Booth, Live Show, Teledildonics and ‘The Crystal Penetrator’.
‘The management of the club reserves the right to refuse entry to anyone who does not correspond to the image of our establishment. We promote healthy curiosity, but please respect the boundaries of the other visitors. That being said, we are a place of no judgement, where you can freely explore your wildest fantasies and desires. If that is what you are after, this is a great place.’
Originating as a dirty joke, ‘The Amazing Sex Show Comes to Copenhagen’ juxtaposes the vulgarity of sexual desire with the much raunchier vulgarity of the world of art. Exploring the tech-driven commercialisation of pleasure and the sensationalism of the established art world, the show challenges a reality where a seemingly exclusive sphere has become reliant on its ability to entertain and promote in order to sufficiently stimulate its audience.
Live Show (2022, Melle Nieling) is inspired by the introduction of AI in pornographic censorship on social media platforms. The pieces explore the interpretation and misrepresentation of sexuality from the perspective of non-human, inorganic systems.
Private Booth (2022, Louise Ørsted Jensen) looks at ways in which voyeurism can exist as a non-sensual aspect of observation, accidental encounters at the risk of consequent judgement.
Teledildonics (2022, Amelie Mckee) reflects on how mechanical objects can be manufactured to automate desire and the absurd devices this can engender.
The Crystal Penetrator (2022, Baocheng Ma), a sleek device that visually resembles a designer home appliance parodically suggests penetrative action in the absence of a physical body, yet in a state of neurotic arousal.