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Bjarne Melgaard and I have something in common: we both love dick. In fact, writing on Melgaard is a very convenient excuse to write about my favourite male member as well as one of my favourite pastimes, gay sex; the artist is perhaps the enfant terrible purveyor of both. A sexy, hairy, Australian-born Norwegian gay guy hellbent, in the abject tradition of Mike Kelley and Paul McCarthy, on figuratively shitting all over mainstream culture.

In the wake of recent victories to legalise gay marriage in the US and the continued normalisation of gay men and women in the media, the military and other sectors of everyday life, Melgaard has sought, in the most excessive way possible, to turn back the clock. Above the text, and partially obscuring it, hung a large group of paintings featuring the recurring figure of the platypus and other human-animal hybrids. A third painting somewhat incongruously depicts two Algerian youths holding machine guns.

Further conflating sex, violence and commodity culture, the sculptural assemblages littering the space offered a dizzying array of disparate objects and source material, from crude figurative sculptures made of marble surrounded by Diet Coke cans and used coffee cups, to a rack of wrinkled Maison Martin Margiela suits. There is real critical agency in his dystopic settings, and it pushes back forcefully against cultural convention.

In his Baton Sinister exhibition as part of the Norwegian pavilion at the Venice Biennale, a video interview between Melgaard and queer cultural critic Leo Bersani featured prominently and has had a lasting afterlife the video was the later centrepiece of a screening and panel discussion at The Kitchen, among other venues. Gangbangs where one man receives 20 or more loads of semen.

In its most freewheeling and promiscuous form, however, such as gangbangs where one man receives 20 or more loads of semen this admirable bottom is called the King of Loads , Bersani — while not advocating this dangerous practice — sees in barebacking something startlingly dissimilar to any heterosexual convention: a selfless, radically liberating form of relation that, nodding to both Lacan and Gilles Deleuze, divests one of the selfish ego.

Wearing suits, they both talk in grave tones. These and other interjections cast an air of mockery over the proceedings. If his work is any indication, nothing short of a gay army stuffing the mouths of its critics with large, swollen dicks will do, if that helps the cause. While this is gross fantasy, it speaks to the gross fantasies buried deep within the collective gay ego, of liberating an identity always seen in relation to another and doing it with abandon.

While this is gross fantasy, it speaks to the gross fantasies buried deep within the collective gay ego. As provocative as Melgaard may be, his solo exhibition at the ICA perhaps signals a new, more muted direction. With the structure looking very clean and elegant, perhaps the artist is becoming more sombre, more serious.

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Lacking the almost infantile aggressiveness of his earlier work, perhaps A House to Die In is a more adult effort. Or perhaps not. Either way, Melgaard seems to be planning for a future in ways that look strangely tasteful. This is a dubious aesthetic sea change for a man with little regard for good taste. What fun is good taste, anyway? If his outrageous history is any indication, the bad is much more interesting than the good.

This article was first published in the October issue.

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And given how innovation works in culture today, does it even matter if they are?