Cruising Archaeology II: Eurotrash

The ephemeral nature of cruising, a practice often characterized by its fleeting encounters and clandestine encounters, rarely leaves a substantial physical record. Artefacts unearthed from these spaces are typically minimal, easily overlooked, and often dismissed as mere detritus. However, a recent publication from SMUT Press, "Cruising Archaeology II: Eurotrash," meticulously gathers these remnants, creating a compelling archive of objects discovered at cruising grounds across Europe. This project, conceived by artist Jack Scollard, builds upon the foundation laid by his 2024 photobook, "Cruising Archaeology." Initially an Instagram account, the "Cruising Archaeology" project began by documenting found objects through individual scans, each meticulously tagged with a specific location and date. This digital initiative rapidly gained traction, leading to invitations to present at academic institutions and an upcoming showcase at a prominent arts institution in Ireland.

Documenting the Unseen: A Pan-European Exploration

The second iteration of Scollard’s project extends its geographical reach, mapping cruising sites across a diverse array of European cities, including Berlin, Athens, Dublin, Barcelona, and Paris. The project’s scope encompasses a wide range of environments, from secluded woodland paths and remote beaches to the more utilitarian settings of public toilets. The collected artefacts are as varied as the locations themselves, ranging from discarded underwear and used chewing gum packets to various low-grade prescription drugs. Unsurprisingly, a significant portion of the found items includes colourful condoms and their torn, crumpled packaging, testament to the sexual activity that defines these spaces.

Jack Scollard’s methodology involves a deep dive into the overlooked. By meticulously scanning and cataloguing these found objects, he transforms discarded items into historical documents. This approach allows for an examination of the material culture of cruising, revealing patterns and narratives that are otherwise invisible. The project’s genesis as an Instagram account democratized this archaeological endeavor, inviting a broader audience to engage with the unearthed fragments of queer public life. The subsequent photobook and exhibition have further amplified this dialogue, bringing these often-marginalized narratives into wider public discourse.

Distinctions in the Detritus: Local Contexts and Social Dynamics

While a common set of items tends to appear across different cruising locations, Scollard has identified subtle yet significant distinctions that emerge from site to site. "These distinctions became the markers of place and embed a local context within familiar materials," Scollard explains. "I find this very interesting to consider; how the landscape itself corresponds to produce particular social dynamics and outcomes." He elaborates on these nuances by recounting specific discoveries. In Tiergarten, a park in Berlin, the presence of a Boiler lube packet was directly linked to a well-known nearby sauna, illustrating a contextual correlation. Similarly, a "Johnny’s got you covered" wrapper discovered in Dublin pointed to an Irish health-service campaign promoting safer sex practices, highlighting localized public health initiatives embedded within the cruising landscape.

These localized findings underscore the project’s anthropological dimension. They reveal how broader cultural trends and specific local policies or campaigns can manifest in the material traces left behind. The project, therefore, serves not only as an archive of sexual practices but also as a subtle commentary on public health, social messaging, and the unique social ecologies of different urban environments. The intersection of global trends with hyper-local particularities offers a rich tapestry for analysis, providing insights into the complex interplay of human behaviour and environment.

The Art of Representation: Jesmonite Casts and Ethical Considerations

The "Cruising Archaeology II: Eurotrash" project is currently being showcased as a physical exhibition at Studio Voltaire in London. In this exhibition, the objects documented in the book are presented not as originals but as jesmonite casts. Scollard expresses a deliberate reticence regarding the direct display of found items: "I had a reticence around showing the actual objects themselves because I had concerns around what it means to potentially show [other people’s] personal items without their consent." With a background in printmaking, Scollard found casting to be an ethical and artistic solution. "It means the objects effectively are on display in terms of their physicality but that they are no longer the originals and have this distance from their source." This artistic choice addresses significant ethical considerations surrounding privacy and consent, while still allowing for the examination of the objects’ form and materiality.

The decision to use jesmonite casts transforms the ephemeral into the enduring, creating a tangible representation of the often-transient nature of cruising. This method allows Scollard to explore the aesthetic and conceptual qualities of the objects without compromising the anonymity or privacy of the individuals who left them behind. The casts serve as powerful metaphors for memory, trace, and the persistence of human presence in public spaces, even when that presence is intended to be unseen. The exhibition at Studio Voltaire offers a unique opportunity for the public to engage with these objects in a new, contemplative context, prompting reflection on the nature of evidence, privacy, and the construction of personal histories.

Probing Utopian Ideals: Complexity, Risk, and Contradiction

Scollard’s approach to the subject matter is characterized by a profound thoughtfulness, extending beyond mere documentation to a critical engagement with the complexities of cruising culture. "It felt particularly important to acknowledge the reality of cruising culture, which is that it is, and always has been, complex and perhaps contradictory at times," the artist states. "There is a tendency to reduce sites of sexual and bodily freedom as inherently utopian; I wanted to probe deeper and ask for whom it is really utopian and what utopian even means. I wanted to acknowledge the reality that risk and danger do play a part in cruising." This critical stance challenges simplistic notions of cruising as purely liberating, acknowledging the inherent vulnerabilities and potential dangers that co-exist within these spaces.

The project’s frankness in addressing the presence of drug use within some cruising spaces is a testament to its commitment to an unvarnished portrayal. Scans within the project reveal traces of drug paraphernalia found amidst the natural elements of these sites, such as mud and undergrowth. Furthermore, "Cruising Archaeology II: Eurotrash" includes interviews with representatives from LGBTQ+ non-profits, such as Marc Svensson of You Are Loved and Mati Klitgård of Gay Consent.Lab. These conversations delve into critical issues surrounding chemsex and other forms of drug use within these environments, opening up vital dialogue and offering support networks for those affected.

Widening Perspectives: Addressing Erasure and Inclusivity

Building upon the foundations of the initial project, "Cruising Archaeology II: Eurotrash" actively seeks to broaden the narrative. A significant contribution in this edition comes from visual artist Stav B, who addresses the often-overlooked erasure of lesbian cruising spaces. Scollard emphasizes the importance of this inclusive approach: "It felt important to widen the voices and perspectives around this topic. So much of the cultural dialogue around cruising centres the cis white gay male experience and I was cautious around reproducing certain narratives." This conscious effort to diversify the perspectives included in the publication is crucial for a more comprehensive understanding of queer public life and its varied manifestations.

The inclusion of Stav B’s work is particularly resonant. Historically, discussions of cruising have often been male-centric, leaving lesbian and bisexual women’s experiences underrepresented. By actively seeking out and amplifying these marginalized voices, Scollard’s project contributes to a more nuanced and inclusive understanding of queer intimacy and public space. This commitment to inclusivity extends beyond gender and sexuality to encompass a broader range of experiences within the queer community, recognizing that "cruising" can encompass diverse forms of connection and expression.

Political Context and the Future of Public Space

In reflecting on the period between the publication of his first book and the release of "Eurotrash," Scollard has drawn attention to broader political shifts that are reshaping the experience and control of public space. "One of the biggest things globally to happen between the first book and now has been the genocide in Palestine. The events that surrounded this, both internationally and domestically, have illustrated the extent to which the state and police can exert control over populations and public space," he observes. He connects these global trends to a more localized tightening of control over protest and public gatherings within the UK, suggesting a broader pattern of increased surveillance and regulation of public life.

This analysis carries significant implications for cruising culture. As public spaces become increasingly monitored and regulated, the clandestine and ephemeral nature of cruising faces potential further restrictions. The project implicitly argues that the tightening of state control over public life poses a direct threat to the existence of spaces where queer intimacy and connection can flourish outside of prescribed norms. However, "Cruising Archaeology II: Eurotrash" also offers a powerful counter-narrative, demonstrating the resilience of queer life. The publication asserts that even in the face of erasure and restriction, the traces of queer existence persist. If cruising is designed to leave minimal evidence, Scollard’s project meticulously demonstrates that these traces hold profound significance. They serve as not only evidence of sexual encounters but as vital testaments to queer life, intimacy, and the ongoing struggle for survival and self-expression within public spaces.

The exhibition "Cruising Archaeology: The Pleasure Archive Research Centre" is scheduled to run at Studio Voltaire until July 5, 2026, offering a sustained platform for engagement with these critical themes. The project’s continued relevance highlights the enduring importance of documenting and understanding the complex, often invisible, histories of queer public life.