テート・ギャラリーさんのインスタグラム写真 - (テート・ギャラリーInstagram)「We're Queerating Tate this #LGBTQIHistoryMonth by sharing a wonderfully open series of personally written responses to Tate artworks, looked at through a queer lens. 🌈🔍 Today we are introducing Brighton-based, grass-roots group QTIPoC Narratives Collective @qtipocnarratives to reflect on Turner's 'Brighthelmstone' 1825. 'Today, Brighton boasts a reputation of being the UK's bastion of queer life, but its liberal presentation masks a sinister past: it was a Georgian hub for importing and selling enslaved peoples. Brighton’s masters commoditised Black bodies, forcefully eradicating their cultural histories and non-binary genders. This etching depicts a boat approaching the docking area of Brighthelmston’s Royal Suspension Chain Pier (1823-1896). The year after it was produced, Brighton Herald published a story about a Black woman and her youngest child–both probably arrived via the pier–being auctioned for a sovereign and four and a half crowns (the auctioneer was paid two shillings: one for his trouble, another for her halter). This trading of enslaved people funded much of the Georgian architecture that’s so carefully conserved today. Why are these narratives silenced in a city renowned for queer equality?' - @qtipocnarratives QTIPoC Narratives focus on providing a safe, alternative mental health space for Queer, Trans, Intersex People of Colour to meet, socialise and co-create zines and art. They also support with Community Advocacy up-skilling, provide forms of Covid-19 relief for the QTIBIPoC community and run a LGBTQI+ Brighton Mutual Action Group. Joseph Mallord William Turner, Brighthelmstone 1825」2月4日 21時34分