grid / scroll NL

Charming for the Revolution

Charming for the Revolution

Charming for the Revolution, Pauline Boudry / Renate Lorenz, still. Installation with 16mm/HD, 11 min. 2009. Performance: Werner Hirsch. Courtesy of Ellen de Bruijne Projects Amsterdam and Marcelle Alix Paris.



Jester inaugurates its new programme with the group exhibition Charming for the Revolution*, introducing several major themes and values that underlie Jester’s programme and identity. The exhibition is part of a longer collaboration with artists Carly Rose Bedford, Toon Fibbe, and Pauline Boudry & Renate Lorenz – all of whom present new productions or works adapted to Jester’s unique exhibition space at C-mine.

Charming for the Revolution gives platform to artists who persistently choose to view the world from another perspective and to manipulate, magnify, or on the contrary, disguise things. Their works examine our relationship to labour, history, economy, and materials.


In conjunction with the exhibition, Jester organises a number of public events, including a reading group, a film programme, and a series of talks. More information about the programme will be published soon, on Jester’s new website (coming up in February).


* The title of the exhibition borrows from the film Charming for the Revolution (2009) by Pauline Boudry & Renate Lorenz


Carly Rose Bedford’s work addresses the themes such as LGBTQ+, emancipation, the body vs hierarchical structures and translates them into a multidisciplinary practice. The seemingly recognisable forms and objects incorporated in their installations cannot be easily labelled or interpreted. Bedford rejects normative representation and proposes alternative relationships that we can enter with people, nature, and things around us. Carly Rose Bedford graduated from the Sandberg Institute, Amsterdam. In 2019, they won the MK Awards, followed by several solo presentations in the following years, including Utopian Redux (2020) at TENT Rotterdam.


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. Their sculptures and objects often refer to the potentiality of performance, using materials that connect to props, stages, costumes, microphones, wigs or dance floors.

Recently, they have shown their work at the Crystal Palace – Museo Reina Sofia Madrid, Whitechapel Gallery, London, Hammer Museum Los Angeles, Seoul Museum of Art, Centre Pompidou Paris. Recent solo exhibitions include CA2M Madrid, 2022, Kunstraum Innsbruck, (2021), Frac Rennes (2021), NBK Berlin (2020), Swiss Pavillon, 58th Biennale di Venezia (2019), Julia Stoschek Collection Berlin (2019).

(text: Boudry & Lorenz)


Toon Fibbe uses performance, video, fashion, installation, text and sculpture to get a better grip on the shadowy world of finance and economics. The invention of characters and personas is what drives the production of objects, films and installations. It is precisely thinking through characters that makes it possible to transform the abstractions of the financial world into unexpectedly theatrical works, wherein extravagant stock market traders stagger on high heels and finance is made visible through talking sculptures, body horror and physical – sometimes even literally dripping – images. Fibbe deals with bodily and ghostly metaphors as a way of understanding economic processes – both now and throughout history. His work departs from the idea that political economy has always had an affinity with the ghostly sphere – as seen, for instance, in Adam Smith’s metaphor of the invisible hand or in the writings of Marx, but also in the gothic fiction of the 19th century.

Toon Fibbe graduated from the Piet Zwart Institute and did a postgraduate at the Jan van Eyck. His work has been shown at Wiels, Kunsthuis Syb, M HKA, Nieuwe Vide, M Leuven, and Kunstfort Vijfhuizen, and others.

(text: Toon Fibbe)



Realised with the kind support of the Flemish Community, the city of Genk, and Jester members.