This article explores cultural production on queer migrant sex work. More specifically, I critically analyse a photography series by Bradley Secker titled Sexugees and a short documentary film by Manuel Abramovich titled Blue Boy. Despite sex work featuring in many narratives on queer migration, this is often treated as one marginal aspect of broader experiences. Sexugees and Blue Boy take an alternative approach by centring sex work. Instead of relying on tropes of vulnerability, I argue these forms of cultural production rely on objecthood as a sign of political agency to highlight queer migrant subjectivity. Objecthood thus becomes means of not only refusing the necessity of performing as worthy subjects of sexual humanitarianism, but to complicate the relationship between queer migrants and those gazing upon their presence within cultural production.

本文探讨酷儿移民性工作的文化生产。更具体地说，我批判性地分析了 Bradley Secker 的名为Sexugees的摄影系列和 Manuel Abramovich 的名为Blue Boy的短纪录片。尽管性工作在许多关于酷儿移民的叙述中都有体现，但这通常被视为更广泛经历的一个边缘方面。Sexugees和蓝色 男孩采取以性工作为中心的替代方法。我认为这些文化生产形式不是依靠脆弱性的比喻，而是依靠客观性作为政治机构的标志，以突出酷儿移民的主体性。因此，客观性不仅成为拒绝作为有价值的性人道主义主体表演的必要性的手段，而且使酷儿移民与那些凝视他们在文化生产中的存在之间的关系复杂化。