Statement   Biography   Solo Shows   Group Shows (selection)   Prizes/Scholarships  

Statement

Pauline Boudry / Renate Lorenz

Our works often revisit materials from the past, a score, a piece of music, a film, a photograph or a performance, wondering about and excavating unrepresented or illegible moments of utopia in history. We work with performance to create embodiments, which are able to conflate different times, drawing relations between these times. We often create illegitimate collaborations–partly fictitious, partly cross-temporal. In "To Valerie Solanas” we gather a number of musicians to perform a minimalist score from 1970, meeting in an imaginary way with its composer Pauline Oliveros and her ideas about the power of listening. In "Toxic" we collaborate with Jean Genet, restaging an interview he did in 1984, and questioning the possibility of rejecting the violence of visualization. The performers in our films are choreographers, artists and musicians, with whom we are having a long-term conversation about performance, the meaning of visibility since early modernity, the pathologization of bodies, but also about glamour and resistance.

Most of our works have been shot on 16mm film material. This demands a concentrated execution and supports the perception that the images show a ‘performance’, as we very often shoot a sequence only one time. It is not a matter of ‘acting,’ in which, for instance, the (drag) performer Werner Hirsch–a performer that we have often collaborated with–purports to play a role in a conventionally convincing manner. Rather, Werner Hirsch establishes a connection with historical materials, through a series of actions and practices, carefully carried out, which are recorded and repeated in the projection in the exhibition space. The topic is the performativity of the performance, the actions, the operations, and their effects.

At the same time, we incorporate lines of desire, the conventions of fetishization, and the glamour of film portraits (with its associated valuation) for the images of the performance. The film ‘Normal Work’ fetishizes the strong muscles, the clothes, the masculinity, and the dirty hands of a domestic servant. The films ‘No Future’ and ‘No Past’ fetishize the looks and practices of Punk, a rejection of (future) temporality and an inappropriate gender presentation. We are interested in the question of how ‘normality’ can be reworked today, how difference can be lived without constant disempowerment, without being appropriated and without taking on the neo-liberal economy’s offers of integration.
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Nos travaux revisitent souvent des documents du passé, photos ou films en général, puisant dans l’histoire des moments queer effacés ou illisibles. Ces travaux présentent des corps qui sont en mesure, non seulement de traverser les époques, mais aussi de tisser des liens entre ces différentes époques, laissant présager ainsi la possibilité d’un futur queer.

Dans Normal Work, N.O.Body et Contagious, nous nous intéressons aux discours liés à la sexualité et au genre dans l’histoire, de même qu’à leurs pratiques. Nous abordons la signification de la « visibilité » depuis le début de l’époque moderne. Ces travaux démontrent comment la visibilité de ces corps permet une prise de pouvoir, un certain glamour, et une forme de reconnaissance. Cependant elle participe également à rendre ces corps pathologiques ou criminels, à les dévaloriser. Nos travaux effectuent une réflexion sur la quasi-simultanéité de l’invention des perversions sexuelles et de la photographie ainsi que leur relation à l’économie coloniale de la fin du dix-neuvième siècle et du début du vingtième. Utiliser le film en s’appropriant des images historiques permet un déplacement ou un désaxement de l’autorité, et des moyens qui conduisent au savoir : dans N.O.Body, une femme à barbe prend la place d’un professeur et produit le rire, au lieu d’initier la connaissance habituellement véhiculée par le langage.

La plupart de nos travaux ont été filmés sur des formats 16mm. Cela présuppose une concentration dans la réalisation et souligne le caractère performatif du travail, car nous ne tournons les scènes très souvent qu’une seule fois. Dans sa performance en drag, Werner Hirsch - avec qui nous avons souvent collaboré – ne « joue » pas, il ne vise pas à être ou à interpréter de façon convaincante un personnage : il établit une relation avec des matériaux du passé, dans une série d’actions et de gestes soigneusement exécutés, enregistrés et montrés en boucle lors d’une projection dans un espace d’exposition. Nous nous intéressons à la dimension performative de la performance, ses mouvements, ses opérations, et de plus, à leurs effets.

En même temps, nous intégrons aux images de la performance certaines conventions de fétichisation et de glamour en tant qu’axes de désir. Le film Normal Work fétichise la forte musculature, les habits, la masculinité et les mains sales d’une domestique. Les films No Future et No Past fixent l’attention sur les styles et les pratiques du mouvement punk, avec son rejet de la temporalité (future), et ses représentations inappropriées des genres. Comment retravailler la « normalité » aujourd’hui ? Comment vivre la différence sans qu’il y ait perte constante d’autonomie, sans que ce soit récupéré par d’autres et sans indulgence envers les propositions d’intégration de l’économie néolibérale?

Biography

Pauline Boudry and Renate Lorenz have been working together in Berlin since 2007. Their staged films and film installations often start with a song, a picture, a film or a script from the past. They produce performances for the camera, staging the actions of individuals and groups living — indeed thriving — in defiance of normality, law and economics. Their films upset normative historical narratives, as figures across time are staged, projected and layered. Their performers are choreographers, artists and musicians, with whom they are having a long-term conversation about performance, the meaning of visibility since early modernity, the pathologization of bodies, but also about glamour and resistance.

Their most recent work, I Want, with performance by Sharon Hayes, premiered in August 2015 at Kunsthalle Zürich and was comissioned by Kunsthalle Zürich and Nottingham Contemporary. In 2014, they produced Opaque, with performances by Werner Hirsch and Ginger Brooks Takahashi, which premiered at the Berlinale (Forum Expanded) in February 2015, and has been shown at Ellen de Bruijne Projects, Amsterdam and Labf15 in Lyon. To Valerie Solanas and Marilyn Monroe, In Recognition of their Desperation (2013) is based on the eponymous 1970 score by avant-garde feminist composer Pauline Oliveros, filmed in Funkhaus Nalepastraße, the former GDR radio studios in Berlin, and featuring performances by the musicians Rachel Aggs, Peaches, Catriona Shaw, Verity Susman, Ginger Brooks Takahashi, and William Wheeler. The work had its premiere exhibition as part of their solo show Patriarchal Poetry at Badischer Kunstverein, Karlsruhe in autumn 2013 and was shown at the Museum of Modern Art, New York, in a special event with the artists, Pauline Oliveros and Gregg Bordowitz in May 2014. Previous works include Toxic (2012), with performances by Werner Hirsch and Ginger Brooks Takahashi, commissioned for Intense Proximity, La Triennale, Paris 2012; No Future, No Past, commissioned by Andrea Thal for the Swiss off-site project, Chewing The Scenery, Venice Biennale, 2011; Charming for the Revolution, 2009; N.O.Body, 2008; Normal Work, 2007.

Recent solo exhibitions have included Portrait of an Eye, Kunsthalle Zürich, 2015, Loving, Repeating, Kunsthalle Wien, 2015, Patriarchal Poetry, Badischer Kunstverein, 2013, Aftershow, CAPC, Bordeaux, 2013; Toxic Play in Two Acts, South London Gallery, 2012; Contagieux! Rapports contre la normalité, Centre d´Art Contemporain, Geneva, 2011.
Their work has been written about by writers and critics including Gregg Bordowitz, Antke Engel, Nana Adusei-Poku, Mathias Danbolt, Ellen Feiss and Laura Guy. Their catalogue Temporal Drag was published by Hatje Cantz in 2011, Aftershow was published by Sternberg Press in 2014, and their most recent catalogue I Want was published by Sternberg Press in 2016.

C. V.

Solo Shows

2016

  • „The Right to Opacity“, Asakusa, Tokyo
  • „To Valerie Solanas ... “, La Centrale Galerie Powerhouse , Montreal
  • „Two video works“, Van Abbe Museum , Eindhoven

2015

  • „In Memoriam of Identity“, Nottingham Contemporary , Nottingham
  • „Loving, Repeating“, Kunsthalle Vienna
  • „Opaque“, La Bf15, Lyon
  • „Opaque“, Ellen de Bruijne Projects, Amsterdam
  • „Portrait of an Eye“, Kunstalle Zürich
  • „To Valerie Solanas and Marilyn Monroe in Recognition of their Desperation “, Frac Franche-comté, Besançon

2014

  • „Journal Notes from Backstage“, Marcelle Alix, Paris

2013

  • „Aftershow“, CAPC, Bordeaux
  • „Normal Work “, Fort Worth Contemporary Arts
  • „Patriarchal Poetry“, Badischer Kunstverein, Karlsruhe
  • „To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation (after a score by Pauline Oliveros)“, Les Complices , Zürich

2012

  • „A Toxic Play in Two Acts“, South London Gallery, London, curated by Electra
  • „Toxic“, Ellen de Bruijne Projects, Amsterdam
  • „Toxic“, Laboratoires d'Aubervilliers, as part of the Triennale Paris

2011

  • „No Future / No Past“, as part of Chewing the Scenery, Swiss Off-Site Pavillon, 54th Venice Biennale
  • „No Past“, Statements, Ellen de Bruijne Projects, Art Basel
  • „Salomania“, Galerie Marcelle Alix, Paris

2010

  • „Charming for the Revolution “, Les Complices, Zürich
  • „Contagieux! Rapports contre la normalité“, Centre d´Art, Geneve
  • „Salomania“, Ellen de Bruijne Projects, Amsterdam

2009

  • „N.O.Body“, Swiss Institute, New York
  • „Salomania“, O.T, Luzern
  • „Salomania“, Les Complices, Zürich

2008

  • „Normal Work“, Galerie Arquebuse, Geneve
  • „Normal Work“, Galerie 44, Toronto
  • „Normal Work“, Kunstraum Lakeside, Klagenfurt
  • „Normal Work“, Les Complices, Zürich
  • „Normal Work“, Ellen de Bruijne Projects, Dolores, Amsterdam

Group Shows (selection)

2016

  • „1.-3. Person Singular“, Kunstverein Leipzig
  • „Biennale of Moving Image“, Centre d´art / Mamco, Geneva
  • „Collection. Territories and Fictions. Thinking a New Way of the World“, Museo Nacional Reina Sofia, Madrid
  • „Cosi Fan Tutte“, Video Art Centre, Verona
  • „Feminism is Politics! “, Pratt Manhattan Gallery, New York
  • „Gwangju Biennale “, Gwangju
  • „Il y a de l´autre “, Rencontres photographiques d'Arles
  • „Islas Nuevas “, Galería Macchina, Santiago
  • „Our Heart Is a Foreign Country (Friendship as an alternative in a normal world) “, Tranzit, FKSE Studio Gallery, Budapest
  • „Sound Fields“, Beirut Art Center (BAC)
  • „Video“, Campbelltown Arts Centre, Sydney

2015

  • „Alfred Jarry Archipelago : La Valse des pantins I“, Le Quartier, centre d'art contemporain, Quimper
  • „All Men Will Be Sisters“, Muzeum Sztuki, Łódź
  • „Andy Warhol, stars of the silver screen “, TIFF Lightbox , Toronto
  • „Bring Your Own Body: Transgender Between Archives and Aesthetics “, 41 Cooper Gallery, New york and The Glass Curtain Gallery, Chicago
  • „Cine Esquema Novo Expandido: Forum Berlinale“, Cinemateca Capitólio, Porto Alegre, Brazil
  • „Doors Open “, Forum Expanded Berlinale , Akademie der Künste, Berlin
  • „Feminine Futures – The Membrane of the Dream & The Membrane of the Real“, Museum Langmatt, Baden
  • „Gelecek Queer “, Ark Kültür, Istambul
  • „Haunting “, Firstdraft , Sydney
  • „Ident-alter-ity, 5th Thessaloniki Biennale of Contemporary Art“, State Museum of Contemporary Art, Thessaloniki
  • „La vérité des apparences (Truth of appearances)“, La Tôlerie Art Center, Clermont-Ferrand
  • „Nascent States“, Waterside Contemporary, London
  • „Pauline Boudry/Renate Lorenz, Melanie Bonajo, Terence Nance“, Parse Gallery, New Orleans
  • „She Devil “, Golden Thread Gallery, Belfast
  • „Videonale “, Kunstmuseum Bonn

2014

  • „8. Tanznacht Berlin 2014“, Galerie Patrick Ebensperger, Berlin
  • „About glass ceilings and sticky floors “, Kunstverein Wegenhallen, Stuttgart
  • „Fringe Film Art Fest“, Rose Lipman Building, London
  • „Humainnonhumain“, Fondation Ricard, Paris
  • „Le Rire, un parcours jaune “, Centre d'art contemporain du Pays de Lorient
  • „Now Showing “, Caroll/Fletcher, London
  • „Of Other Bodies“, Centre for Contemporary Art, Derry~Londonderry
  • „Sequins, Self & Struggle“, Centre for Curating the Archive at Michaelis School of Fine Art, Cape Town
  • „The Missing Stories“, CAFAM Biennial , CAFA Art Museum , Beijing
  • „The Other Sight“, CAC Vilnius
  • „The Yvonne Rainer Project - Lives of Performers“, Ferme du Buisson, Paris
  • „Transformers“, Beursschouwburg, Bruxelles
  • „Wie wir leben wollen “, Shedhalle, Zürich
  • „You don't need a weather man to know which way the wind blows“, Hollybush Gardens , London

2013

  • „A Museum of Gesture“, La Capella, Institut de Cultura de Barcelona
  • „Bad Girls“, Fonds régional d’art contemporain de Lorraine, Metz
  • „Désirs sans destin“, Théâtre Saint Gervais, Genève
  • „Disabled by Normality“, DOX Centre for Contemporary Art , Prague
  • „Disobedience Archive (The Republic) “, Castello di Rivoli Museo d'Arte Contemporanea, Turin
  • „Economy“, Stills , Edinburgh
  • „Fais un effort pour te souvenir, ou à défaut invente“, Bétonsalon, Paris
  • „Good Girls-Memory, Desire, Power“, National Museum of Contemporary Art, Bucharest
  • „Lips Painted Red“, Trondheim Kunstmuseum
  • „Make-up, at Antonia Baehr and Werner Hirsch's table“, Beursschouwburg, Brussel
  • „Per Speculum Me Video“, Frankfurter Kunstverein
  • „The Grand Domestic Revolution“, Centre for Contemporary Art, Derry~Londonderry, Northern Ireland
  • „The Grand Domestic Revolution GOES ON“, City of Women Festival , Ljubljana
  • „The only performances that make it all the way …“, Künstlerhaus Graz

2012

  • „Accrochage“, Musée d´Art, Lausanne
  • „Buy My Bananas“, Kate Werble Gallery, New York
  • „Impulse(s) “, Musée Felicien Rops, Namur
  • „Intense Proximity“, Palais de Tokyo, Paris
  • „La jeunesse est un art“, Kunsthaus Aarau
  • „Many Colored Hands Placed Side By Side... “, Réfectoire des Nonnes, Lyon
  • „Masquerade“, Coreana museum of Art, Seoul
  • „Plus ou moins sorcières“, Maison Populaire, Montreuil, Paris
  • „Reality Manifestos“, Kunsthalle Exnergasse, Wien
  • „Rentmeister, Boudry/ Lorenz, Ottersbach“, Tobias Naehring, Leipzig
  • „Rosa Arbeitet auf goldener Strasse “, Akademie der Künste , Vienna
  • „The Grand Domestic Revolution“, The Showroom, London

2011

  • „Accrochage“, Musée des Beaux-Arts, Lausanne
  • „All I Can See is the Management“, Gasworks, London
  • „Coming after“, The Power Plant, Toronto
  • „Historical Structures“, Alte Fabrik, Rapperswil
  • „Junge Kunst“, Kunsthaus Zürich
  • „K.Acker : The Office“, Galerie de la Friche Belle de Mai, Marseille
  • „Nothing Personal“, Galerie Marcelle Alix, Paris
  • „Playground Festival“, Stuk, Leuven
  • „Re.Act.Feminism #2 – a performing archive“, Centro Cultural Monterhermoso, Vitoria-Gasteiz
  • „The Grand Domestic Revolution“, Casco, Utrecht
  • „Untold Stories“, Kunsthalle Tallinn

2010

  • „Accrochage“, Musee des Beaux-Arts, Lausanne
  • „Gender Blending“, Galerie Michel Journiac, Paris
  • „Lecture Performances“, Museum of Contemporary Art , Belgrade
  • „N.O.Body with Antonia Baehr“, Aichi Triennale, Japan

2009

  • „Bertha von Suttner Revisited“, Harmannsburg
  • „Everywhere“, CGAC, Santiago de Compostela
  • „Lecture Performances“, Kunstverein Köln
  • „Mother Festival“, Hayarkon 70, Tel Aviv
  • „Swiss Awards“, Basel

2008

  • „And then we take Berlin...“, Substitut, Berlin
  • „Contrasenas“, Monterhermoso Cultural Center, Monterhermoso
  • „Femmes´r us“, Radialsystem, Berlin
  • „Make out!“, Studio 44, Stockholm
  • „Sex brennt!“, Charité Museum, Berlin

2007

  • „Du Nord“, Musée des Beaux-Arts, lausanne
  • „Eau Sauvage“, Fieldgate Gallery, London
  • „Lost & Found“, Shedhalle, Zürich
  • „Normal Love“, Künstlerhaus Bethanien, Berlin
  • „Oh girl, it's a boy!“, Kunstverein, München
  • „Swiss Awards“, Basel

2006

  • „Audio “, Cabinet des Estampes, Genève
  • „Null Problemo“, Rudolf-Sharpf-Galerie, Ludwigshafen
  • „Revolt she said“, la Criée, Rennes
  • „und so hat Konzept noch nie Pferd bedeutet“, Generali Foundation, Wien

2005

  • „Critique of pure image, between fake and quotation“, Bath House, Plovdiv
  • „Ongoing. Feminism & Activism“, galerie 5020, Salzburg
  • „Sometimes you fight for the world, sometimes you fight for yourself“, (solo show) Les Complices, zürich

2004

  • „Atelier Europa “, Kunstverein , München
  • „Swiss Awards“, Basel
  • „The personal is political, und peinlich“, Kunsthalle Exnergasse, Wien

Prizes/Scholarships

2013

  • „Stiftung Kunstfonds“, Bonn

2012

  • „Paris-Atelier Cité des Arts“, Canton de Vaud
  • „Résidence aux Laboratoires d'Aubervilliers“, Paris

2011

  • „Paris-Atelier Cité des Arts “, Senat, Berlin

2010

  • „Accrochage“, musee des Beaux-Arts, Lausanne
  • „Katalogförderung“, Senat, Berlin

2009

  • „Swiss art awards“

2008

  • „Bourse arts plastiques Vaud“

2007

  • „Film- und Videoförderung des Künsterlinnenprogramms Berlin“
  • „Swiss art awards“

2004

  • „Projektförderung im Bereich Bildende Kunst des Senats“
  • „Swiss art awards“