We are pleased to participate in Art Rotterdam 2025 with a booth presentation at Stand F4 with work by Pauline Boudry/Renate Lorenz and Laëtitia Badaut Haussmann; a big-scale film installation by Pauline Boudry/Renate Lorenz in the Projections section; and an installation by Pauline Curnier Jardin in the Intersections section.

 

In our booth, a duo presentation by Pauline Boudry/Renate Lorenz and Laetitia Badaut Haussmann explore the intersections of body, history, and identity: Boudry/Lorenz through their recurrent materialities of the wig and the chains, invoking the queer body in a sensual, erotic, and political manner, whilst Badaut Haussmann does so by means of exploring the cultural connections to tobacco and smoking via the cinematic, glamorous and gore. 

 

At Projections we present Pauline Boudry/Renate Lorenz' A Portrait (2024), a large projection featuring  eight choreographers, artists, and musicians, each entering the scene against the backdrop of a giant black faux leather curtain, arriving at a simple chair to perform a portrait. The work explores the politics of visibility and undermine the distinction between performing and being, between props and bodies. 

 

At Intersections we present Le Lente Passioni (2020-2023) by Pauline Curnier Jardin, a video installation at the crossroads of a church confessional, a domestic space, and a camping site that looks into contemporary adaptations and experiences of  Catholic rites, reflecting on spirituality and its digital mediations. 

  • Pauline Boudry/Renate Lorenz

    Pauline Boudry/Renate Lorenz

    Pauline Boudry and Renate Lorenz have been working together in Berlin since 2007. They produce installations that choreograph the tension between visibility and opacity. Their films capture performances in front of the camera, often starting with a song, a picture, a film or a score from the near past. They upset normative historical narratives and conventions of spectatorship, as figures and actions across time are staged, layered and re-imagined. Their performers are choreographers, artists and musicians, with whom they are having a long-term conversation about the conditions of performance, the violent history of visibility, the pathologization of bodies, but also about companionship, glamour and resistance.

     

    Recently, they have shown their work at the 35th São Paulo Art Biennal, Crystal Palace/Reina Sofia Museum Madrid, Seoul Mediacity Biennale, Whitechapel Gallery London, the Hammer Museum Los Angeles, Centre Pompidou Paris, Seoul Museum of Art, Van Abbemuseum Eindhoven, New Museum New York, Julia Stoschek Collection Berlin or 58th Biennale di Venezia (Swiss Pavillon).

     

     Their work is found in the collections of  Centre Pompidou Paris, Tate Modern London, Van Abbe Museum Eindhoven, GAM/Rivoli Torino, NGV Museum Melbourne, Reina Sofia Museum Madrid, Kadist Foundation, Frac Lorraine, Kunsthaus Zürich, NBK Berlin, Warsaw Museum, MCBA Lausanne, Frac Toulouse, Walker Art Gallery Liverpool, Nouveau Musée Monaco, Bundes Sammlung Deutschland, Frac Bretagne, Louisiana Museum Dennmark, Lodz Museum, CA2M Madrid, and Philadelphia Museum of Art, among others. 

     

    Their work has been written about by writers and critics including Elisabeth Lebovici, Andre Lepecki, Mason Leaver-Yap, Elisabeth Lebovici, Övül Ö. Durmusoglu, Gregg Bordowitz, Antke Engel, Nana Adusei-Poku, Mathias Danbolt, Ellen Feiss or Laura Guy. Their most recent catalogue "Stages" (2022) was published by Spector Books, "Moving Backwards" (2019) was published by Skira, "Telepathic Improvisation" (2018) was published by the Contemporary Arts Museum Houston, "I Want" was published by Sternberg Press (2016), "Aftershow" was published by Sternberg Press (2014).

  • Laëtitia Badaut Haussmann
    Photography by Elise Toide

    Laëtitia Badaut Haussmann

    Laëtitia Badaut Haussmann lives and works in Paris, France. Her artistic practice is based on the development of a project-based method. Her research is part of an intersectional feminist approach that crosses psychology and constructed environments, focusing on forms of emancipation and empowerment as much as on structures of conditioning and alienation. Badaut Haussmann works in sculpture, installation, image, text, video and sound, with the exhibition as her main medium, and her approach systematically contextual and situated. Drawing on her specific knowledge of cinema, literature, architecture and design, she explores these disciplines as social and political expressions, injecting these references into her artistic devices, demonstrating the interdisciplinarity and transversality at play in the approach to her projects.

     

    In 2022, Badaut Haussmann was in residence at the Secession (Vienna, AU) for her research into the tobacco industry through its geo-political, iconographic and mass manipulation histories. She recently worked on the Pavillon des Amours, a social sculpture developed to host specialist discussions around love as a political tool, the first edition of which took place in Paris in June 2023 and the second edition in Brussels in autumn 2024. Also in 2023, she carried out a long-term study of queer and feminist architecture as part of the Magnétiques residency with the Franklin Azzi architecture firm.

     

    Her work has been the subject of several solo and group exhibitions, the most recent of which are : BOZAR (2024, BE), La Salle de Bain (2024, FR), CAPC (2023, FR), Frac Pays de la Loire (2023, FR), Emanuela Campoli (2023, IT), Campoli Presti (2022, FR), Ikon Gallery (2022, UK), Musée d'Art Moderne (2021, FR), Fondation Pernod Ricard (2021, FR), EDB Projects (2021, NL), The Community (2021, FR), A Tale of A Tub (2021, NL), Centre Pompidou (2020, FR), Beeler Gallery (2020, USA), MACRO (2020,IT), MRAC (2019,FR), Musée départemental d'art contemporain de Rochechouart (2018, FR), Kettle's Yard (2018, UK), MUSEION (2017, IT), MUDAM (2017, LUX), Centre Pompidou Metz (2017, FR).

  • Pauline Curnier Jardin
    Photo: Finnish National Gallery / Pirje Mykkänen

    Pauline Curnier Jardin

    Pauline Curnier Jardin (b. 1980, Marseille, France) is an Rome-Berlin based artist working across installation, performance, film and drawing. The transgressive, camp, and idiosyncratic character-driven work of Curnier Jardin takes on a diversity of forms ranging from paintings, performances, musical collaborations, installations and films. In her work the artist often incorporates historical or mythological material into her own bizar aesthetics. With the instruments of the theater, she breathes new life into anthropological objects, discoveries, and images. She reinterprets such objects as altruistic protagonists in her self-created, peculiar adventures. She is especially interested in the female figure in mythology, history, folklore, and cinema. She deconstructs stereotypical representations of women as hallow, witch, mother, or mystic. Through a multimedia approach, her work seeks a unique representational logic, in order to locate a separation between reality and fiction, rationality and emotion, man and woman, friend and enemy, human and objects, the sacred and the profane.

     

    Curnier Jardin completed a residency at the Rijksakademie Van Beeldende Kunsten, Amsterdam in 2015-2016. She was the winner of the Dutch prize NN Award (2018) and laureate of the Prix Fondation d’Entreprise Ricard (2017). She was a visiting tutor at the Dutch Art Institute and at Kunsthochschule Kassel and has been tutor at De Ateliers in Amsterdam for the past year. She is the winner of the 2019 Preis der Nationalgalerie and recipient of the 2019/2020 Villa Medici Residency in Rome and the 2021 Villa Romana Fellows in Florence.

     

    Selected solo and group exhibitions, commissioned projects and screenings include: Deep Scarlet, Scream Ruby | The Freestanding Joys, Galeria Municipal do Porto, Porto (upcoming); The Dawn is Red When the Dew Coagulates, Kiasma Museum, Helsinki; Hot Flowers, Warm Fingers, Centraal Museum, Utrecht; 57th Venice Biennale, IT; Tate Modern, London; UK; Cobra Museum of Modern Art, Amsterdam, NL; International Film Festival, Rotterdam, NL; Video Art At Midnight; Berlin, Schirn Kunsthalle Frankfurt, DE; Futura, Prague, CZ; Ellen de Bruijne Projects, Amsterdam, NL (2018). Performa 15, New York, US; The Fondation Cartier pour l’Art Contemporain, Paris, FR; Migros Museum of Contemporary Art, Zurich, CH; University of São Paulo, São Paulo, BR (2015). MIT List Visual Arts Center, Cambridge, US (2014). Haus der Kulturen der Welt, Berlin, DE; Palais de Tokyo, Paris, FR (2013). Centre George Pompidou, Paris, FR (2012). Musée d’Art Moderne, Paris, FR; ZKM Museum of Contemporary Art, Karlsruhe, DE (2010).