Abstract How and why do we, as queer people, occupy and create community-based artistic spaces? What sorts of performative forces and dynamics are activated once we adopt the name ‘museum’? Is AMOQA (Athens Museum of Queer Arts), whose creation is discussed in the present article, a ‘museum’ or a social centre? How can we imagine alternative ways of blending art, activism and politics? For example, how do the politics of drag and hacking relate to the making of a queer feminist space? These are some of the questions this article addresses as it explores the creation of AMOQA in relation to the messy binaries of public/private, proper/improper, high culture/low culture, and useful/obsolete. By examining the intersections between these binaries, we wish to tell the story of AMOQA as a performative collective endeavour, as a character in drag, as a sort of ‘hacking’ intervention.

中文翻译：

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AMOQA，雅典酷儿艺术博物馆：发明生存工具和设计异议路线

摘要 作为酷儿，我们如何以及为什么要占据和创造基于社区的艺术空间？一旦我们采用“博物馆”这个名字，会激活什么样的表演力量和动力？AMOQA（雅典酷儿艺术博物馆）（本文讨论其创作）是“博物馆”还是社交中心？我们怎么能想象融合艺术、激进主义和政治的其他方式？例如，变装和黑客的政治与酷儿女权主义空间的形成有何关系？这些是本文解决的一些问题，因为它探讨了 AMOQA 的创建与公共/私人、适当/不当、高雅文化/低俗文化和有用/过时的混乱二进制文件相关。通过检查这些二进制文件之间的交叉点，我们希望将 AMOQA 的故事作为一种表演性的集体努力，作为一个变装角色，