Boudry & Lorenz

PAULINE BOUDRY & RENATE LORENZ — SILENT Pauline Boudry (n. 1972, Suíça) e Renate Lorenz (1963, Alemanha) trabalham juntas, em Berlim, desde 2007. Produzem instalações que coreografam a tensão entre a visibilidade e a opacidade. Os seus filmes captam performances diante da câmara, começando frequentemente com uma canção, uma imagem, um filme ou uma partitura de um passado recente. “Silent” questiona como ambos os momentos conseguem estar interligados. A peça começa com uma interpretação da partitura “4´33´´”, de 1952, do compositor moderno John Cage, que instrui o(s) intérprete(s) a não tocar o(s) seu(s) instrumento(s) durante toda a duração das suas três partes. A artista Aérea Negrot interpreta a partitura num palco giratório, colocado na Oranienplatz, uma praça pública em Berlim onde se realizou um acampamento de protesto de refugiados entre 2012 e 2014. Na segunda parte do filme, interpreta uma canção que foi composta para a peça. Mais informação sobre esta exposição em indexmediaarts.com. —— [EN] Pauline Boudry (b. 1972, Switzerland) and Renate Lorenz (b. 1963, Germany) have been working together in Berlin since 2007. They create installations that choreograph the tension between visibility and opacity. Their films capture performances in front of the camera, often beginning with a song, an image, a film, or a score from the recent past. Silence has been described both as a violent experience (in the case of being silenced) and as a powerful act of performance and resistance, as has been carried out by various civil disobedience movements around the world. “Silent” questions how these two moments can be interconnected. The piece begins with a performance of the 1952 score “4´33´´” by modern composer John Cage, which instructs the performer(s) not to play their instrument(s) for the entire duration of its three parts. The artist Aérea Negrot performs the score on a rotating stage set up in Oranienplatz, a public square in Berlin where a refugee protest camp was held between 2012 and 2014. In the second part of the film, she performs a song composed specifically for the film. More info on this exhibition at indexmediaarts.com.

More sounds by amazing Ginger Brooks Takahashi, together with R.Aggs in 2013! @brookstakahashi @r4ggs To Valerie Solanas and Marilyn Monroe in Recognition of their Desperation Installation with Super 16mm film / HD, 18 min., 2013 Performance: Rachel Aggs, Peaches, Catriona Shaw, Verity Susman, Ginger Brooks Takahashi, William Wheeler Six performers are following the score “To Valerie Solanas and Marilyn Monroe in Recognition of their Desperation” which the composer Pauline Oliveros wrote in 1970. The work poses the question of the possibilities and limits of a politics of musical and filmic forms. Can sounds, rhythms and light produce queer relations? Can they become revolutionary?

Looking back in the future with amazing Ginger Brooks Takahashi in 2011! 🖤 @brookstakahashi No Future / No Past Installation with two Super 16mm films / HD,
15 min and 15 min, 2011 Performance: Ginger Brooks Takahashi, Fruity Franky, Werner Hirsch, Olivia Anna Livki, G. Rizo No Future / No Past is a film installation comprising two almost identical films that 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.

Until 01.02.2026 How We Always Survived explores the doings of sound as a language capable of shaping hope, mourning, and desire in repressive contexts. It is the first solo exhibition by Pauline Boudry & Renate Lorenz in Italy. @istitutosvizzero

just a few weeks left to visit “how we always survived” by @boudrylorenz at @istitutosvizzero 💔 when installation views are suspiciously too good it means they are by @annikwetter / the gorg (here badly cropped – sorry!) teaser at the end is by @ivana.gloria thank you Pauline and Renate, thank you everyone who made this project possible. ❤️

What will a minoritarian mode of temporality look like? Can movements simultaneously connect to political despair and utopian aspiration? (NO) TIME ON VIEW: - ISTITUTO SVIZERRO ROMA - UNTIL 1.2.26 - LOUISIANA MUSEUM OF ART - UNTIL 6.4.26 (No) Time Installation with HD and 3 blinds, 20 min., 2020 Choreography/Performance: Jules Cunningham, Werner Hirsch, Joy Alpuerto Ritter, Aaliyah Thanisha Music: It´s lover, love by Aérea Negrot, remixed by Philip Bader @j.middlec @thanisha.aa @joy_alpuerto_ritter @make_up_productions_ @istitutosvizzero @louisianamuseum #aereanegrot #queertime

On view until 22 February 2026 Can the Monster Speak? Radius Center for Contemporary Art and Ecology, Delft Curated by Sergi Pera Rusca Wig Piece (Right Body, Wrong Time) III, VII Wig Piece (String Figure no. 1) @sergirusca @edbprojects

(NO) TIME ON VIEW: - ISTITUTO SVIZERRO ROMA - UNTIL 1.2.26 - LOUISIANA MUSEUM OF ART - UNTIL 6.4.26 (No)Time by Boudry & Lorenz Installation with HD and 3 blinds, 20 min., 2020 Choreography/Performance: Julie Cunningham, Werner Hirsch, Joy Alpuerto Ritter, Aaliyah Thanisha Music: Mambos Fudiz by Nidia Minaj @louisianamuseum @istitutosvizzero @joy_alpuerto_ritter @j.middlec @thanisha.aa @make_up_productions_

You Ask Me To Not Give Up Up Up Abbatiale de Bellelay, 2025 Work: Roller-coaster with travelling loudspeaker, transmitting a song through the space, interacting with the echoes of the Baroque church Music by Colin Self @colinself Curated by Sylvain Menétrey @gou_goush and Katia Leonelli

Highlight of this year, our collaboration with Colin Self for our installation at Abbatiale de Bellelay, 2025 Roller-coaster with travelling loudspeaker, transmitting a song through the space, interacting with the echoes of the baroque church Music by Colin Self @colinself Curated by Sylvain Menétrey @gou_goush and Katia Leonelli

Get a glimpse of the current show in Rome, “how we always survived”, the first solo exhibition in Italy by Pauline Boudry / Renate Lorenz. Their multidisciplinary practice encompasses sculpture, performance, choreography, music, and film installation, often combined into immersive installations that challenge the conventions of both the white cube and the black box. Conceived specifically for the spaces of Villa Maraini, “how we always survived” includes new commissions alongside existing works, harmonised within a timed installation that unfolds across the villa’s various rooms. “how we always survived” explores the doings of sound as a language capable of shaping hope, mourning, and desire in repressive contexts. The title is taken from a sentence by activist Chelsea Manning, one of the exhibition’s protagonists, referring to the role music had for her during her time in prison. The exhibition plays on the boundary between the choice to speak out and the possibility of transforming speech into sound, blurring the lines between aesthetic and political acts. In the works on display, voice becomes the means to let forgotten pasts resonate, echoing through the villa’s rooms and evoking other places through song. Dance functions as a programmatic tool to guide a collective movement of bodies. The architecture of the villa itself seems to move, participating in the composition with a sequence of gestures that exploit the opposition between light and darkness, sound and silence, pause and motion. The resulting grand choreography appears to pose a question: can moving side by side, in concert, simultaneously connect political disillusion and utopian aspiration? Curated by Lucrezia Calabrò Visconti @lucreziacalabrovisconti Istituto Svizzero 17.10.2025–01.02.2026 Via Ludovisi 48, Roma Discover our special opening hours at istitutosvizzero.it trailer by @ivana.gloria

Last days at Muac Mexico City All The Things She Said - Pauline Boudry & Renate Lorenz - Untill 30.11 Microphone Piece (All The Things She Said) 2025 @muac_unam