In his first solo, Untitled (Some Faggy Gestures), Andrea Givanovitch offers a poetic and political reflection on his queer body. Paying tribute to LGBTQIA+ activist artists who shaped his sense of commitment, he shatters caricatures and normative frameworks. Drawing from Henrik Olesen’s Some Faggy Gestures, he crafts a movement language that reclaims and transforms stereotyped “effeminate” gestures—limp wrists, swaying hips, tilted heads—into a refined physicality that transcends cliché. Subtle variations in dynamics, intensity, and rhythm subvert social and gender norms while celebrating queer figures who have stood by him in revolt. The solo is rooted in Andrea’s lived experience as a queer, HIV-positive artist. It responds to the scrutiny and imposed gestures his body has endured, questioning how so-called “feminine” gesturality—often externally projected—is felt, inhabited, and redefined from within. This embodied research draws from Renate Lorenz’s Queer Art: A Freak Theory and from queer archives where the margins pulse with creativity and resistance. Opening with a tribute to Jack Smith, the piece weaves personal and historical layers, linking humor, eroticism, HIV activism, and poetic defiance. Danez Smith’s Bare is recited as a sensual, political invocation of liberation through vulnerability. Controlling sound and light, Andrea activates his agency, reshaping the black box into a space of transformation. Paint becomes another medium—fluid, raw, and symbolic—echoing both protest and pain, marking the body as both wounded and insurgent. Untitled (Some Faggy Gestures) is a celebration of queer survival and imagination. It proposes queer resilience as a transgressive force, where movement becomes manifesto, and the stage becomes the site of a revolution rooted in fluidity, sensuality, and fierce love.