With reference to current violent social conditions, Telepathic Improvisation explores the ways in which others (including other objects) might become part of our striving for alternative political and sexual imaginations. Humans and non-humans, movements, speeches, gestures, music, light, and smoke interpret composer Pauline Oliveros’ 1974 score of the same title. While the action of the film appears abstract, it nonetheless includes references to leftist protest, queer S&M club life, acts of surveillance and, finally, fantasies of new relations between human and non-human objects in an interstellar dimension. The audience is called to communicate telepathically with all of the elements on screen, including performers Marwa Arsanios, Werner Hirsch, MPA, and Ginger Brooks Takahashi. Challenging the idea of images as mere depictions of (political) actions, this filmed performance speaks about productive tensions between the fantasy of an action and the action itself.
Artistic-political methods such as opacity — opposing the principles of rendering the Other transparent — determine the duo’s way of creating installations. With their films and sculptures, and the placement of screens and objects in space, they create a dense net of references to the history of art and the often cruel and excluding history of visualization and the gaze. They play with dis/connections between objects and meaning, and with the conventional gendering of material. Does the hair of a huge sculptural hair-work refer to a wig? Does it refer to the history of drag performance? Or is it a glamorous prop? A minimalist object becomes a stage, and the visitor suddenly participates in a narrative that hints towards an alternative future.