The exposed buttocks of a male nude, shown drying himself after having taken a bath, created such an uproar in a Brussels art exhibition in 1888 that the offending painting, “Homme au bain” [Man at His Bath], was quickly taken down so as to avoid attracting further attention. The framed view of a naked male arse, which the Impressionist Gustave Caillebotte offered here to a specialized public, was unheard of: almost as if someone had accidently opened the bathroom door but decides not to be ashamed of the desire to watch, but on the contrary invites to share the sensual sight. 130 years later, a mother and her son visit a museum in Boston where, only recently and despite a great deal of resistance, this exact same picture had been purchased for its collection. The woman takes a snapshot with her mobile phone. One of countless images taken during her travels in the USA, where her son studies art. The photo in the Boston Museum of Fine Arts, as if by chance, shows Caillebotte’s male nude and, in the foreground and somewhat blurred, the head of her son, frozen in the beginning of a rotation – towards or away from “Man at His Bath”. There it is again – the indecent view and the desire while looking, captured by the mother as though it were evidence. Interestingly, Guanyu Xu selects just this sight, the sight of his own mother watching his life, to talk about the permanent crossroads of seemingly incompatible realities. One close look, which is, however, blind to the gay desire of her son. With the private photo archive of his mother, who lives in China, Xu weaves animated flight simulation through complex formations, a type of queered cartography without clear locating. From this visual web, a story unfolds, based on audio recordings of conversations between Xu and the mother, who is a master of diplomacy. With unbelievable eloquence, she playfully brings together the incompatible: the “Internationale” and turbo-capitalism, art – but without politics please, immigration yes – immigrants rather no. Mrs Xu’s ideological mixing-technique, with which she has arranged the global complexity in the COMPLEX FORMATION, is that of the privileged. Her son cannot openly establish himself with his desire and the associated politics. He must use the space between the snapshots: the reverse side of Xu’s video projection screen shows a photo of the artist as he, in the absence of his parents and without further ado, declares the home living room in Beijing an exhibition venue for his art that his mother wouldn’t like to photograph.