Running La Garçonnière Prod for eight years, Christopher Miller is at the vanguard of Brussels’ LGBTQ+ nightlife. Through events such as ‘Last Days Of’ and ‘Homografia, Homography’, this event programmer has relentlessly tried to bring art and politics at their finest into the queer scene. Collaborating with Darling! since last year, he told us about their latest project: Love Carnage.
Hi Chris, you have been producing your own queer parties in Brussels for more than ten years now. Can you start by telling us a bit about yourself?
I started to organise my own parties ten years ago. Since the beginning, I have wanted it to be very underground: that’s why the first ones were typically held in my own basement. In 2012, I gathered with friends and artists to launch the ‘Last Days Of’ parties. We are best known for our multidisciplinary approach. Besides fine and dark techno, we showcase a lot to the history of cinema, feature dance, and performances, but also live VJing. A few years later, we created La Garçonnière Prod, a production agency with which I launched various projects such as the ‘Homografia, Homography’ festival that explores genres, identities and our representations of masculinity through visual and performing arts. Added to my own projects, I’ve also been working as an independent promoter at Pink Screens Festival for some years.
In 2019, Last Days Of collaborated with Darling! to create the Love Carnage parties. Who are Darling! and how did you meet them?
Darling! is a young collective that I have known for several years. I met them in 2016 during the organisation of a Spring Ball. As they started to build their own parties, we matched our visual universes. We both love to decorate venues and spend time to build proper visuals for our parties. On top of that, coming from two different generations, our energies are quite complementary. La Garçonnière Prod was used to invest cultural spaces that were traditionally not considered as party venues. With Darling!, we are opening to a new challenge: sharing our universe in a club.
Last November, you threw the second edition of this collaboration. Are you content with the result?
We are quite satisfied actually, especially regarding the audience we’ve gathered. As everyone is truly accepted, it was incredibly diverse, with fierce characters and people from many different backgrounds. We are delighted also that the Zodiak – a venue that is not defined as LGBTQ+ – gave us so much trust to establish what we had in mind. That allowed us to erect a great scenography and gather that beautiful audience. The gay sphere can sometimes feel uniform or closed on itself. I think these Love Carnage parties prove the opposite.
You mentioned your ‘Homografia, Homography’ festival. What is it about?
It is a festival that I initially founded in Mexico with young local artists. Our idea was to deconstruct notions such as identity, genre, and masculinity through LGBTQ+ art, namely visual and performing arts. Last year, I relocated it for the first edition in Brussels. We invited many Belgian artists alongside some of the original Mexican performers with whom I created the event. Through this project, I try to represent LGBTQ+ culture in its most crude aspects. Some performances can be tough to watch, just as can be life for any LGBTQ+ person to experience. Performing arts are about re-appropriating your body, that’s why they are so appreciated by the artists of our community. Queer bodies are denied by our society’s rules and stereotypes; through the performance, they can express everything that they internalise every day.
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