![\"Charming](\"http:\/\/www.femininemoments.dk\/blog\/wp-content\/uploads\/2013\/02\/charming.jpg\" "\\"Charming")
<\/p>\n<\/p>\n
Press photo: Charming for the Revolution, courtesy of Tate Modern and the artists.<\/em><\/p>\n Three films The work of Pauline Boudry \/ Renate Lorenz reflects on the interplay of sexuality, sexual perversions and representation, continuously returning to unrepresented or illegible moments in history.<\/p>\n The artists will introduce and reflect on each of the works followed by a Q&A after the screening. The film programme features:<\/p>\n CHARMING FOR THE REVOLUTION<\/a> “With a wink to Jack Smith, the New York underground performer and filmmaker from the 60\u2019s to the 80\u2019s, as well as to the history of queer and feminist calls such as \u201cwages for housework!\u201d, the film recreates the \u201chousewife\u201d as an ambiguous figure with an open future.” No Future \/ No Past is a film installation and part of a series of two films that both work on punk archives from the period between 1976 and 2031 investigating the radical negativity, the self-destructiveness and the dystopia of this past moment. Normal Work<\/a><\/em> “The film \u201enormal work\u201c asks whether the cros- sings of social hierarchies of class, gender, and \u201erace\u201c that Hannah Cullwick staged and that she obviously desired have today become generalized into a paradoxical requirement in the field of labor.” Pauline Boudry \/ Renate Lorenz<\/a> have collaborated since 1998 and their work has been extensively exhibited internationally. Recent solo shows include Les Laboratoires d\u2019Aubervilliers (Paris Triennale), 2012; Swiss off-site Pavilion, as part of Chewing the Scenery, Venice Biennale, 2011; Les Complices, Zurich, 2010; Centre d\u2019Art Contemporain, Geneva, 2010.<\/p>\n Pauline Boudry & Renate Lorenz say about their work: “Our works often revisit materials from the past, usually photographs or films, referring to and excavating unrepresented or unlegible moments of queerness in history. These works show embodiments which are not only able to cross different times, but also to draw relations between these different times, thus revealing possibilities for a queer futurity.”<\/p>\n
\nby Pauline Boudry \/ Renate Lorenz
\nFriday 1 February 2013, 19.00
\nThe Tanks at Tate Modern, London, UK<\/p>\n
\nPauline Boudry \/ Renate Lorenz
\n16mm\/DVD 11 min. loop , 2009
\nPerformance: Werner Hirsch<\/p>\n
\n
\nNo Future \/ No Past<\/a>
\nPauline Boudry \/ Renate Lorenz
\nInstallation with two Super 16mm films \/ HD,
\n15 min and 15 min, 2011
\nPerformance: Ginger Brooks Takahashi, Fruity Franky, Werner Hirsch, Olivia Anna Livki, G. Rizo<\/p>\n
\nThe ” four musicians (Ginger Brooks Takahashi\/\u201dMen\u201d; Fruity Franky\/\u201dLesbians on Ecstasy\u201d; G. Rizo; Olivia Anna Livki), and a choreographer (Werner Hirsch)\u2013stage and practice outmoded acts and sentiments of the past that have been deemed useless. The musician-performers provisionally take over the positions of four musicians from the punk movement: Darby Crash, the gay band leader of \u201dThe Germs\u201d, Poly Styrene the singer of the very influential band \u201dX-Ray-Spex\u201d, Alice Bag, lead singer of the LA Band \u201dThe Bags\u201d, and Joey Ramone, singer of the band \u201dThe Ramones\u201d.”<\/p>\n
\nPauline Boudry \/ Renate Lorenz
\nInstallation with film and
\n13 photographs, 2007
\nPerformance: Werner Hirsch<\/p>\n
\nIn the film we watch the performer Werner Hirsch \/ Hannah Cullwick attempt to imitate poses of the 19th century photos of Hannah Cullwick as a maid, a slave, a bourgeois man and a woman.
\nWerner Hirsch \/ Hannah Cullwick orients him\/ herself to his\/her memory, to a mirror, or to a \u201emodel\u201c that is not in the image, or to instructions that are called out to him\/her, also from outside the space of the frame.<\/p>\nAbout the Artists<\/h2>\n
Charming for the Revolution: A Congress for Gender Talents and Wildness<\/h2>\n