INTRODUCING LOUISE DANY

Louise Dany cares for their guests. They would rather pour a glass too many and is not shy of entertaining. They like for people to stay over, to be closer to them and become more like them. Discretion and privacy is law, nones pleasure is exposed. Louise D is always pleased to see you.

They sees many resemblances between their own physical form and Katarina Bonnevier’s reading of Eileen Grey’s Villa E1027 in Behind straight curtains - towards a queer feminist theory of architecture, in fact they took their name from Grey’s housekeeper of many years. Flipping through the pages, they felt a spiritual connection with the maid in her private quarters. Seeing as Grey was a progressive and successful designer cum architect for the early 1900s, Louise D took particular notice to how she was living — while the rooms above showed daring vision and fluidity, a real break with conventional heteronormative living, the maids quarters were humble to the point of ridiculousness. Louise D cared deeply for Grey and when no guests were around the two of them were inseparable and shared the house equally. But this was perhaps never intended in Grey’s vision. Louise D’s form is at both times their potential and their limits.

There might be something about the present that called for their rebirth into this world, a new crisis of the planets. Louise D feels as if they has lived this time before, perhaps more than once. They knows the world is unfair and recognises the double standards we are bound to operate on. Despite this they keep looking for openings, these tiny slits of hope, joy and freedom where the double standards of ones neighbour become ones own until there is an inflation of standards. All standards are nothing more than one standard turned away from itself, a gesture Louise D only resorts to when dealing with discriminatory assholes.