To demand opacity is to claim a condition that is beyond transparency. It is to recognize the right to affirm oneself in a complex relativity.
The multiple reports used in the work of Pauline Boudry and Renate Lorenz (born in 1972 et 1963, live in Berlin) – mainly made of filmed performances and documentary material – question under what they call transtemporal drag the possible incarnation of "becomings" below objective simplifications. By revisiting various characters and materials (historical, real, fictional, audio, visual etc.) that have have been seen throughout time as resistance to normality, their works give body to the psycho-socio-cultural depth of individuals.
Opacity and relation, dear to Edouard Glissant's poetics, thus take form at La BF15, in the film Opaque, the central piece of the exhibition, but also in the occupation of the space, inviting us in turn to become actor of our own positioning. But towards whom, or against what?
"A curtain, two performers, inside the remnants of an old public swimming pool. The performers claim to be representatives of an underground organization. The curtain is set up for their anonymity. The public is long gone, the place seems abandoned. When the curtain rises, another one appears. This one, in pink zebra print, fuses the technique of military camouflage with the stylishness of Gay Pride outfits, and becomes a showcase for the entrance of a great wave of smoke. Perhaps the dense smoke stems from bombings, or perhaps it is set off as a signal during a political demonstration.
Later a speech is delivered, based on a text by Jean Genet. Its topic? The desire for a truenfailing enemy. It opens up the question of how to move forward in a war, or in a fight for resistance, without any declared and "visible" enemy.
Do the curtains and fumes grant the "right to opacity" (Edouard Glissant) to the bodies that they mask and disguise? Or do they blur the dividing lines between same and other, between accomplices and enemies?"
Pauline Boudry / Renate Lorenz