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Posted On: July 15th 2025, 03:05 am
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The Body Is Not a Battleground - Egoo Dallas
Curated by Tutasay, Pride Museum
Captured by: KOI, Valeria Martins
What is the price one pays for being queer?
This is the question at the heart of Egoo Dallas’ work.
This exhibition, which took place at the @thepridemuseum MIMA takeover, one month long, experimental curatorial project, does not merely reflect on queer experience, it confronts the contradictions that frame it.
We were asked to consider the map of power—a world where queer symbols circulate in fashion and pop culture, while the people behind those symbols risk imprisonment, exile, oppression, exclusion. On one side of the coin lies the gaze of the commercialized queer culture; while from the walls of the exhibition we catch the gaze of the marginalized within queer communities: migrants, unhoused people, sex workers. These are lives still silenced, forgotten, unarchived.
Through a five-year archive of Polaroids taken in Brussels’ urban corners, Ego Dallas documents lives rarely seen: portraits of queer people surviving outside the system. Yet even here, beyond erasure and pain, their work refuses to reduce queer life to suffering. Instead, it envisions transformation.
In this space, queerness is no longer framed by violence, but by possibility. The body is no longer a battleground—it becomes a question, a site of radical re-creation and re-imagining.
Curated by Tutasay, Pride Museum
Captured by: KOI, Valeria Martins
What is the price one pays for being queer?
This is the question at the heart of Egoo Dallas’ work.
This exhibition, which took place at the @thepridemuseum MIMA takeover, one month long, experimental curatorial project, does not merely reflect on queer experience, it confronts the contradictions that frame it.
We were asked to consider the map of power—a world where queer symbols circulate in fashion and pop culture, while the people behind those symbols risk imprisonment, exile, oppression, exclusion. On one side of the coin lies the gaze of the commercialized queer culture; while from the walls of the exhibition we catch the gaze of the marginalized within queer communities: migrants, unhoused people, sex workers. These are lives still silenced, forgotten, unarchived.
Through a five-year archive of Polaroids taken in Brussels’ urban corners, Ego Dallas documents lives rarely seen: portraits of queer people surviving outside the system. Yet even here, beyond erasure and pain, their work refuses to reduce queer life to suffering. Instead, it envisions transformation.
In this space, queerness is no longer framed by violence, but by possibility. The body is no longer a battleground—it becomes a question, a site of radical re-creation and re-imagining.
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