Pauline Boudry & Renate Lorenz

The film installation, shown throughout the event, was developed from a reflection on the regressions caused by the political situation in recent years. They envisioned a "backward movement" choreography as a tool of resistance and action.  

The choreography brings together dancers from different backgrounds as postmodern dance, urban dance and guerrilla techniques and elements of underground queer culture. Parts of the walks, solos and group dances are carried out backwards, others are digitally reversed, creating doubt and ambiguities for the installation and its temporal order on the whole. 

The artists often work with the same people, artists, performers, choreographers, musicians, thus weaving bonds of intimacy and exchange that infuse and grow within their works. 

In this context, they gave 4 cartes blanches to 4 of the choreographers/performers in the film: Julie Cunningham, Werner Hirsch, Latifa Laâbissi and Nach who will respond to this ongoing dialogue between them with a new performance. 

Pauline Boudry & Renate Lorenz, Moving Backwards, 2019. Film HD, couleur, son, 23 min

Directors of photography: Bernadette Paassen, Siri Klug 
Sound: Johanna Wienert 
Grip: Camilo Sottolichio 
Lights and stage: Riccardo Clementi, Pieter Jurriaanse 
Assistants: Lore Rinsoz, Neige Sanchez, Am Ertl 
Hair costumes: Heloise Mantel and Dürtal Leathers 
Sound design: Rashad Becker 
Colour grading: Waveline 
Music: Hard Ton, Food of Love (Sprinkles’ Dubberama remix

Les artistes remercient Callie's résidence à Berlin.

Choreography/performance: Julie Cunningham, Werner Hirsch, Latifa Laâbissi, Marbles Jumbo Radio, Nach

Pauline Boudry & Renate Lorenz, Wall Necklace Piece. Installation, 2021. Courtesy des artistes, Marcelle Alix galerie, Paris et Ellen de Bruijne Projects, Amsterdam

Held at a distance, the sculpture, Wall Necklace Piece (My Favorite Things) is composed of several varieties of suspended chains, used both to secure spaces and to chain up people. Some of these chains might be used in queer culture and S/M as well, others evoke the sensuality of jewelry worn directly on the skin, even though the moving body as a carrier is replaced by the stillness of the wall.     

Pauline Boudry & Renate Lorenz, Cell piece (Glitter In My Wounds)

Cell piece (Glitter In My Wounds), a structure of metal bars that allows us to see through but not to step inside or trespass, is indecided between being a division of space or a sculpture. It might be a fence, a cage or a prison cell. Though from the perspective of the audience one is not imprisoned but denied access, a gesture which stays in stark contrast to the promise of sociality, sexuality, and intimacy evoked by the display of costumes/props from the film Moving Backwards – objects composed of harnesses and wigs.