Inside the gallery room we can see the projected live transmission of a little room. Two women in cowgirl costumes reenact their 16th birthday over and over again. In monologues and chorally they explore their toxic relationship as sisters, recalling scenes from their memories. The curators of the show choose three people from the audience to enter the birthday party. One by one the spectators disappear inside the separate room and are then becoming visible on screen, through the lens of the surveillance camera. A love song is sung, the spectator is pulled into the bed and later kicked out again. The whole procedure is repeated cyclicly. The performance explores stereotypes and celebrates the kitsch of the image of two girls. The acceptance and withdrawal of the spectator, who is falling in and out of becoming object (of desire, of being seen, etc.) is paraphrasing the symbol of the “young girl” being the centre of the collective gaze.

Inside the gallery room we can see the projected live transmission of a little room. Two women in cowgirl costumes reenact their 16th birthday over and over again. In monologues and chorally they explore their toxic relationship as sisters, recalling scenes from their memories. The curators of the show choose three people from the audience to enter the birthday party. One by one the spectators disappear inside the separate room and are then becoming visible on screen, through the lens of the surveillance camera. A love song is sung, the spectator is pulled into the bed and later kicked out again. The whole procedure is repeated cyclicly. The performance explores stereotypes and celebrates the kitsch of the image of two girls. The acceptance and withdrawal of the spectator, who is falling in and out of becoming object (of desire, of being seen, etc.) is paraphrasing the symbol of the “young girl” being the centre of the collective gaze.