From Queer Necropolitics to Queer Eschatology: Reza Abdoh’s Unsettling Historiography

The theatrical oeuvre of Reza Abdoh has been lauded for its reinvigoration of the avantgarde, its formal and political daring and its astute commentary about the violence of the HIV virus (Fordyce, Carlson, Mufson, Bell). More recently, Abdoh’s work has been taken up as a commentary on neoliberalism—in part because of its politicization of bricolage and pastiche, recalling the more radical possibilities of theorizations of scholars such as Frederic Jameson (Zimmerman). Others have called out the modes by which Abdoh expanded the possibilities of queerness in the early 1990s. Yet no scholar has commented on Abdoh’s engagement of eschatology as a mode of historiography. That is the purpose of this essay. It is under this rubric, rather than an idea of generic postmodern milieu, that I read the multiple and discordant temporalities in Abdoh’s performances. While drawing on theories of the necropolitical (Mbembe) and gore capitalism (Valencia) in relation to conceptions of queer eschatology and capitalist violence, my inquiry emerges from consideration of the structural and theoretical aspects of the art works (“object’s”) themselves. I consider how Father Was a Peculiar Man (1990), performed in the Meatpacking District of Manhattan, exemplifies the historiographical possibilities of performance through its embodiment of an eschatological vision of the world in which the gender binary is performatively undone.