"Two months prior to Ryan Danny Owen’s performance of Love Me Like There’s No Tomorrow at the 9th Biennial M:ST Performative Art Festival in Calgary, I was drunkenly stumbling off a New York subway car with a new copy of Jack Halberstam’s Female Masculinity tucked under my arm. I waved back to Ryan, who was still on the train, and chirped, 'Get home safe!'. Glancing back, I caught sight of Ryan’s smiling face framed by their floppy dark hair and two closing subway doors."

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Published in the Winter 2019 (Issue 015, Volume Four) issue of Luma Film & Media Arts Quarterly, "Homo-Sighting: Consent & Refusal of Queer Performance in Ryan Danny Owen's LOVE ME LIKE THERE'S NO TOMORROW" features intimate musings on the complexity of performing queer bodies in a comparison of Ryan Danny Owen's performance in M:ST 9, Love Me Like There's No Tomorrow, and William E. Jones' TEAROOM. Author Anj Fermor is the recepient of the M:ST & Luma Quarterly Writing Prize.

The M:ST & Luma Quarterly Critical Writing prize was a partnership between M:ST Performative Art Festival and Luma Quarterly which provided a monetary prize and publishing opportunity for a student or emerging writer to respond to M:ST 9 programming.

Luma Quarterly is a quarterly online publication about independent film and media art published by CSIF - The Calgary Society of Independent Filmmakers and EMMEDIA Gallery & Production Society. Luma includes critical essays, news, reviews, event previews, interviews, reflections, and photo/video essays about culturally relevant productions, events and ideas. Luma aims to expand critical dialogue about media art and film from a Western Canadian perspective on an international platform. www.lumaquarterly.com

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Photo: Tearoom, directed by William E. Jones (2007). Still. STILL Courtesy of David Kordansky Gallery, Los Angeles

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