The starting point of the studio exhibition is the video piece “I’m Not The Girl Who Misses Much” by Pipilotti Rist from 1986, which is included in the collection of the Kunsthalle Mannheim. The video shows the artist in a black dress dancing in a room that is alternately white, red and blue. The mantra repeatedly sung by Rist is an adaptation of the Beatles song “Happiness Is a Warm Gun”—a playfully feminist critique of the platitudinous, mostly sexist perception of femininity on TV and in the music industry. Her short film tells of courage and melancholy, of falling and standing up again, of resistance and self-exploration.
Taking Rist’s work as a point of departure, the studio becomes a place of dreaming, criticizing and inquiring for Mannheim’s urban community. Various initiatives are invited to make visible their perspectives, attitudes and questions in the area of tension between feminism, art and popular culture.
In artistic cooperation with the Mannheimer Stadtensemble, the Nationaltheater Mannheim, and the Queeres Zentrum Mannheim e.V. (QZM)
Curator: Christina Bergemann
The exhibition is sponsored by:
This exhibition has been made possible by a benefit auction by ARTgenossen, the Young Friends of the Kunsthalle Mannheim.
Pipilotti Rist: I’m Not The Girl Who Misses Much (Filmstills), 1986. Kunsthalle Mannheim © VG–Bildkunst, Bonn 2023/Pipilotti Rist
Andrea Chagas & QZM –Queeres Zentrum Mannheim e.V.
The biochemical process of osmosis stands for the motion of mingling, the dissolution of the boundaries of a binary system. The video Osmose: active fault shows the self-awareness and the dilemma of a young woman having to decide between love and religion. In the video, we also explore the relationship between gender identity, politics and religion in the history of the queer community and ask: What happens to the psyche of a person who grew up in a religious faith that regards homosexuality as a sickness? What happens to a person whose family would turn away from their own child when they learn that the child is queer? The semi-permeable vessel represents patriarchy, it divides worlds, denominations, people, and defines them in hierarchies – according to what they “are,” what they have, or what they “are not” or lack. One part of society is usually connoted positively-cis, man, hetero, white, able-bodied, slim, educated, logic, activity etc. (corresponds with the water concentration with higher pressure) – while the other part of society is stigmatized-woman, trans, LGBTQIA+, BIPoC, fat, uneducated, intuition, passivity etc. (corresponds with the water concentration with lower pressure). As long as there is a membrane between them, there can be no equal distribution – no equality. Alluding to Pipilotti Rist’s I Am Not The Girl Who Misses Much, a destructive impulse is transformed into something hopeful with self-determined images of sensuality, intimacy and liberation.
2023 / Video
Production, Directing and Postproduction: Andrea Chagas
Camera: Alize Adamopoulos / Andrea Chagas
Audio: Kysha Schott
Cast: Aylin, Anna Roth, Jule Seiler, Ilka Kaufmann, Alize Adamopoulos, Flora, Raphael Wilberg, Cilly Dickmann, Katrin Hofner, Besa Demiri, Annick Mörth, Leonardo Olavarrieta, Laura Riedl, Laura Lenz, Eddi Bludau, Anna Krentz, Juliette Jiouo, Katharina Gierl, Nicki Oup
Mannheimer Stadtensemble, NTM
“misses much” by the Mannheimer Stadtensemble takes a close look at the title I’m Not The Girl Who Misses Much. The verb “to miss” has a variety of meanings, e.g., to long for someone who is not there, to lack something, to not hit a target, to overlook, to come too late... What feminist bodies do we miss? Which ones do we overlook? What connections do we miss? Searching for suitable material, the Stadtensemble came upon self-empowered figures resisting and fighting against current patriarchal norms. They include a woman burning her headscarf during the protests in Iran, the performance of Pussy Riot in a Moscow church, the action of the Chilean feminist Las Tesis, or the artist Peaches. The images and videos are projected onto the bodies of Mannheim citizens. This connection gives rise to the following questions: How are we connected with each other? What effects does the female body have in a global context? How closely do the issues affect us here in Mannheim? How can one show solidarity from a distance? Using language, movements and color, the six Mannheim citizens of different generations make reference to Pipilotti Rist’s early video art from the 1980s and connect it to the present.