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Plurals (6 Dec, 3pm) will feature a reading by Anahita Razmi in the context of her works made for the exhibition Paula Modersohn-Becker und ihre Weggefährtinnen. Der unteilbare Himmel‹; a lecture performance by Sophie Seita; followed by a conversation between both artists and the art historian and independent curator Sandra Skurvida.

We would love for you to join us.

Warm wishes,

Anahita, Sophie, Sandra

I have long been fascinated by a citational use of theatre’s conventions without enacting them.

I hold open my book with a slab of clay to copy a passage about the history of scaffolding.

Experimental translations make their scaffolding visible. To intentionally upset the truism of translational invisibility, the scaffold visualises a material process. This making-visible does not aim for a transparency of meaning. Experimental translations side with a certain cloudiness.

—Sophie Seita, Cloudiness, video essay, 2021

<dialogue> i: hello. Pony: hello. i: let’s do that again. Pony: ok. i: hello. Pony: hello. Pony: different? i: maybe. i: i’ve forgotten the instructions. Pony: that’s sad. i: it’s not real. Pony: ah. * it’s an easy gesture, i use it often and expertly i have no such options with the pony * we could call this pony’s table talk we all know that animals perform heroic deeds and ponies are divinatory, they warn of danger

—Sophie Seita, Vulva’s School, excerpt, 2020

Foto: Sophie Seita, plastic lip slot machine, performance, Goldsmiths CCA, 2025