The Society of Dangerous Evidence: Dykes on Bikes 2.0

One of the exhibition’s starting points is the re-edition of the cookbook Who Ever Said Dykes Can’t Cook?, originally published in the United States in 1983. In 2021, Félix Kazi-Tani reworked the publication, expanding it with contemporary perspectives and situating it within a European context. A forthcoming Czech edition is being developed in collaboration with artists and queer collectives from the Czech Republic and Slovakia. Here, the cookbook is not just a collection of recipes; it becomes a political document, a method of knowledge-sharing, and a tool for articulating lesbian history and presence beyond academic or institutional frameworks.

Félix Kazi-Tani has long explored how food, table aesthetics, and publishing formats reflect power structures—and how artistic interventions can disrupt or redirect them. Their installations, publications, and research projects operate at the intersection of visual art and social critique, using graphic design, typography, and narrative as tools for deconstructing cultural codes.

Ania Nowak, in her performance Obelix Nutrix, focuses on the figure of the caregiver, transforming it into a speculative post-human entity. Through language, choreography, and text, she examines the interplay between power and intimacy, control and acceptance. Her work draws on queer and feminist theory, responding to current debates around technology, care, autonomy, and the boundaries of physical and virtual space.

Monika Kováčová works with traditional sculptural techniques such as metal casting, as well as with recycled materials. Her monumental objects refer to cultural memory and personal mythology, questioning the relationship between permanence, materiality, and vulnerability. Kováčová builds on a lineage of craft, reshaping it into new forms that reflect queer experience and Romani history.

Tamara Conde Crhová combines painting and object-making with elements of biological research. She creates visual structures inspired by animal anatomy, fungi, or coral—organisms that defy human taxonomies and normative ideas of the body. Her work explores transformation, organic instability, and the fluidity of form as essential elements of queer aesthetics and identity.

Barbora Lungová focuses on painting and the theory of representation. In their series Rainbow Garden, presented in collaboration with Tamara Conde Crhová, they work with the image of the garden as a space where queer ecology, feminist thought, and visual critique converge. Their work challenges cultural stereotypes and generates new visual narratives that destabilize normative aesthetics and the hierarchies of nature and culture.

Julia E. Dyck explores altered states of consciousness, acoustic environments, and the body in the digital age. Through hypnotic sessions and sonic installations, she weaves together neurology, feminist speculation, and performative experiments. Her work operates on the boundary between scientific research and art, conceiving the body as a medium of transformation.

Clémentine Roy and Marta Orlando work at the intersection of visual anthropology, queer ecology, and speculative communication. Their project The Pathway to the Goats draws on research into whistled languages as a form of queer communication across landscapes. Whistling here becomes a strategy of deviation, subversion, and detachment from dominant forms of expression. Roy and Orlando build a new kind of language—performative, fluid, and resistant to standardization.

The exhibition thus reveals that lesbian and queer artistic practice is not confined to intimate space but actively intervenes in public discourse, the landscape, and the body itself. Rather than focusing solely on representation, it proposes new modes of articulation through language, material, sound, or recipes—modes that are political, embodied, and capable of disrupting established frameworks.