One continuous give-and-take as six performers push towards a paradigm shift in the future. Following a 1970 score written by Pauline Oliveros in response to SCUM Manifesto by Valerie Solanas, they ask ‘Can sounds, rhythms and light produce queer relations? Can they become revolutionary?'
In this rendition of John Cage’s score 4’33” from 1952, the musician Aérea Negrot remains silent in front of several microphones installed on Oranienplatz, the site of a refugee protest camp in 2012. This performative gesture points to a precarious distinction between the violence of being silenced and the powerful agency of refusal.
Drag performer Werner Hirsch is seen walking a turtle, channelling the 19th-century dandy, protesting the frenzy of industrialisation. With a nod to underground artist Jack Smith, as well as to queer and feminist campaigns such as Wages for Housework, the film recreates the ‘housewife’ as an ambiguous figure with an open future.
