**R Arrrrmy** (2019)
Sabine Marte, Naomi Rincón Gallardo (concept, performance)
Denise Palmieri (performance)

An Erratic Chorus of Sergei Eisenstein – The great filmmaker of the Russian revolution also made a film about the Mexican revolution, but it was never completed. His cinematic gaze is colonialist, but the desire for the revolutionary was definitely queer for him in Mexico. Bini Adamczak performatively explores the discursive question of what gender the various revolutions have and how this is changing, as well as what gender the coming revolution will have. But also which relationships are changing us and how, possibly revolutionizing us? It also explores how our own queer desire connects with the little-known graphic oeuvre in the creative process of the montage aesthetics of the revolutionary filmmaker Sergei Eisenstein.

A red circle – whether taken from Malevich, El Lisitzky or Russian folk tales? – meets the blood-red lips of Coyolxauhqui*. And you don’t need to have read either Vsevolod E. Meyerhold or Gloria E. Anzaldua to engage with his biomechanics or her decolonial perspective. The monstrous is also the colonized self, and it is more about the search for lost body parts and healing recomposition in a montage of attractions.

*According to Gloria E. Anzaldua, Coyolxauhqui is a symbol for the process of emotional and psychological fragmentation and splitting of body/mind/soul and at the same time the creative work of putting all the parts together in a new form. A partly unconscious work, a work of rethinking and remembering. Coyolxauhqui embodies the desire for restoration and healing, as well as the desire to rewrite the history of loss and recovery, exile and return, disinheritance and reclamation.

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