HE EAR R (2017): Five microphones of different types slowly spin on a circular platform, lit by two stage lights, casting two overlapping circles on the wall, ten shadows (more, less) refracting flecks of white, gold around the space, elsewhere a clock. This little flock of microphones is both prop and proposition, their ceaseless spinning the incarnation of Pauline Boudry/Renate Lorenz rummaging through all the different ways a stage can reveal itself as a multivalent material mass, plastic and necessarily malleable, a contradiction of space and awareness. As two people, collaborators, together, they suggest a stage is something to be oriented around, with and through barely stable to stand on: nothing is singular, the microphones always come back around.weiterlesen