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Pauline Boudry / Renate Lorenz

Opening reception: 18:00-20:00 Saturday 10 September
Curated by Asakusa
With support of Isabelle Alfonsi (Marcelle Alix, Paris)

ポーリン・ボードリ / レナーテ・ロレンツ

オープニングレセプション: 2017年9月10日(土) 18:00 - 20:00
協力:イザベル・アルフォンシ(ギャルリー マールセル・アリ、パリ)

10 SEP - 13 OCT 2016

Asakusa is delighted to announce the opening of "The Right to Opacity", the first solo exhibition in Japan by Berlin--based artist duo, by Pauline Boudry / Renate Lorenz. Working together since 2007, the artists produce film installations that step in and out of suppressed or illegible moments, staging the actions of individuals and groups living—indeed thriving—in defiance of normality, law, and economics. Sourced from materials such as archival photographs, texts, music scores, and film reels excavated from the past, their "queer archaeology" revisits critical moments. Through their performances for the camera, Boudry / Lorenz seek to upset normative historical narratives as figures across time are staged, projected and layered.

The exhibition features their recent work Opaque (2014), filmed inside the remnants of an old public swimming pool. Within the film, two performers, claimed to be representatives of an underground organization, appear behind the layers of curtains that separate the outside from the inside, while emphasizing their presence of anonymity. Once the curtain is removed, another curtain appears. One of them features a pink zebra, which fuses the war technique of camouflage with the stylishness of queer-outfits and becomes a showcase for the entrance of large amounts of smoke. The dense smoke alludes to the aftermath of bombings or a signal during political demonstrations. Later a speech is delivered, based on the text The Declared Enemy (1970), written by Jean Genet during his devoted support for Black Power and the Palestinians. It portrays a faultless and subjugated enemy, whose position he assumes to replace.

In the performance, this desire for a communion with the declared enemy is embodied through the speech act of reading Genet's text. Publicly voicing their desire has been an important means of protest in the political movement.

In the film, the two performers continue lip-synching with nuanced gestures, as the recorded voice-over is consummated and the curtains are removed one by one. The structure of the narrative is disrupted within this intricate language practice. As the opaqueness of their identity reinterprets the text, the imaginary enemy extends its boundary to the viewers, and addresses a polemical question to the audience to accept the unknowable Other or the declared enemy.

The title of the exhibition “The Right to Opacity” also references the term developed by Martinique poet Édouard Glissant. According to Glissant, to produce clarity and transparency of thought, one has to reduce the texture of diverse realities to a scale of conceptual measurements. Glissant deemed it an aggression and claimed for a right not to be understood. “The Right to Opacity” therefore demands for hospitality for the Other, in opposition to the urge for transparency that is pervasive in global media and culture.

With the prevalent hostile practice of classifying differences today, the exhibition asks: Do the curtains and fumes grant "The Right to Opacity" to the bodies that they mask and disguise? Or do they blur the dividing lines between same and other, between accomplices and enemies? How is it possible to accept the unknowable Other or the declared enemy in its rawness? "The Right to Opacity" has been realised thanks to Marcelle Alix Gallery, Paris.

The work Opaque (2014), with performance by Werner Hirsch and Ginger Brooks Takahashi, was premiered at Berlinale in February 2015 (Forum Expanded), and was shown at Kunsthalle Vienna, Kunsthalle Z?rich and Nottingham Contemporary.

アサクサは、ポーリン・ボードリ / レナーテ・ロレンツ による日本での初個展 『不透明性への権利』 を開催します。2007年の結成以来、自身が「クイア考古学」とよぶ方法論にもとづき、セクシャル・マイノリティーの歴史を写真、音楽スコア、映画や文学テクストから掘り起こし、社会的規範に抗してコード化してきた過去の再解釈を試みてきました。周縁化した状況において、苛烈に華やかに  生きた人々が衣装やプロップをもとに再演され、映像とその構成物による空間インスタレーションとなって、記憶を更新する現在の時間軸に接続しています。

本展の中心となる《Opaque》(2014年)は、市民プールの跡地を舞台に撮影されました。ある地下組織のメンバーを名乗る2人の人物が薄暗い廃墟に現れ、カーテンの背後に立って、自らの匿名性を強調しています。性的アイデンティティーが織り込まれたカーテン  軍事用のカモフラージュにみたてたピンクのシマウマ模様(注:ピンク・ゼブラは黒人と白人のレズビアンカップルを表す隠語)や、きらびやかに輝くスパンコールが、やわらかい皮膜のように、内と外を隔てる結界を表しています。そして、聴衆が誰一人いない静けさのなか青や赤の煙幕がたかれ、鑑賞者の視界をさえぎっています。



本展のタイトル『不透明性への権利』は、マルティニークの詩人 エドゥアール・グリッサンの言葉です。西洋社会が推し進めた思考の透明性が、一方において言明しがたい文化領域を排除する知の暴力を生んだ反省にたち、多様な立場の人々が理解されないままでいることができる権利を主張しました。このとき不透明性は、透明な情報の開示をもとめるメディア文化や、奇異のまなざしを前に自らの言葉を失う人々が、自らの多様な特異性のうちに結びつくことができるための、心遣いとして要求されています。ジュネの声明文における見えない敵は、この不透明さのなかに求められているのかもしれません。



出展作品《Opaque》(2014年)は、2015年のベルリナーレ(Forum Expanded) にて公開され、クンストハレ・ヴィエナ、クンストハレ・チューリッヒおよびノッティンガム・コンテンポラリーにて上映されています。出演は、ウェルナー・ヒルシュとジンジャー・ブルークス・タカハシ。


— Pauline Boudry / Renate Lorenz
— Asakusa

  • INFO

Title: “The Right to Opacity"
Artists: Pauline Boudry / Renate Lorenz
Dates: 10 September - 13 October, 2016
Venue: Asakusa, 1-6-16 Nishi-Asakusa, Taito, Tokyo
Opening hours: Thur. 19:00 - 22:00,
Sat.& Sun. 12:00 - 19:00

Opening reception for the artists:
18:00-20:00, Saturday 10 Sepmebter 2016

For press info and images:
Koichiro Osaka
+81 (0)90 8346 3232 /

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