This installation unfolds as a cruising spot where ghosts meet, forming a genealogy marked by absence and transgenerational grief linked to the AIDS epidemic. From the perspective of a fan, the practice of collage and anachronistic citation becomes a means of connecting to this genealogy; weaving connections between different fragmented temporalities to challenge the notion of “straight” time. It thus allows for the camp-style sublimation of what is considered bad, deviant, or doomed to failure.

The installation takes the form of a hybrid space—a cross between a teenager’s bedroom, a ghost train, and a sex club’s darkroom. By questioning the gradual disappearance of certain sexual subcultures and their meeting places, their representation as models and their reconstruction based on lived experiences become techniques for creating an archive through the body, encounters, fiction, and fantasy. Reinvesting these ghosts and the practices of the invisible in the present thus becomes a way of allowing oneself to be haunted.