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"Under this mask, another mask. I will never finish lifting all these faces."
Claude Cahun and Marcel Moore (1929–1930)
Just as the pioneering photomontage work by Claude Cahun and her partner Marcel Moore disrupted gender representations, the films of Pauline Boudry / Renate Lorenz feature protagonists with multiple faces that destabilize the notion of the original. Who are we watching? (which, by ricochet, prompts us to ask: who are we?) In previous exhibitions, for instance, one might observe Werner Hirsch, a persona of Antonia Baehr, reenacting a BBC interview with Jean Genet while sporting a blonde beehive wig (Toxic, 2012), or dressed in leather with rhinestone earrings, delivering a text inspired by The Weather Underground, a radical leftist group active in the U.S. during the 1970s (Opaque, 2014). More recently, Hirsch appeared dressed in a suit made of lightbulbs (A Portrait, 2024–). The gallery, like the backstage of a show taking place offscreen, becomes the space where the…
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"Under this mask, another mask. I will never finish lifting all these faces."
Claude Cahun and Marcel Moore (1929–1930)
Just as the pioneering photomontage work by Claude Cahun and her partner Marcel Moore disrupted gender representations, the films of Pauline Boudry / Renate Lorenz feature protagonists with multiple faces that destabilize the notion of the original. Who are we watching? (which, by ricochet, prompts us to ask: who are we?) In previous exhibitions, for instance, one might observe Werner Hirsch, a persona of Antonia Baehr, reenacting a BBC interview with Jean Genet while sporting a blonde beehive wig (Toxic, 2012), or dressed in leather with rhinestone earrings, delivering a text inspired by The Weather Underground, a radical leftist group active in the U.S. during the 1970s (Opaque, 2014). More recently, Hirsch appeared dressed in a suit made of lightbulbs (A Portrait, 2024–). The gallery, like the backstage of a show taking place offscreen, becomes the space where the…
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