CAN'T STOP // 2023
Fine Art Print, 50cm x 70 cm
For Tanztage Berlin 2026, Hermione Flynn propose the creation and exhibition of new performance work, “PERMISSION” (working title) - an addition to the artists ongoing creative practice, exploring gender through the act of dance, embodiment and imitation. As a non-binary, fem-presenting artist, Flynn is developing this work as a satirical commentary on the perception of masculinity, as an unexamined byproduct of youth and popular culture.
In “PERMISSION” Flynn, alongside Joanna Krawczyk, Elizka Chojnacka and Martix Navrot, will study, interpret and imitate the choreography, body-language and facial expressions of Los Angeles rock band, Red Hot Chilli Peppers. Culturally, cis-men in these (and corresponding) music genres have portrayed a flagrant approach towards their bodily expressions, granting themselves permission to be unapologetically silly or ugly, overtly aggressive and destructive, and at times, even sexually vulgar. It is this hyper-confident choreography that Flynn, and their fellow performers, aims to imitate, and as fem-socialized artists with no professional dance training, they are aware that their bodies - both physically (in regards to the bare-chest), as well as in motion - carry residual fem-socialisation and programming, impacting the way they were taught (or given permission) to dance and move. It is through the amalgamation of imitation combined with social programming, that Flynn attempts to dissect the behavioral limitations, or liberations, imposed upon the gender binaries.
However, in an effort to distill the experience as a commentary on dance and body-language only, the performance will not be accompanied by music, rather, the artists will listen to the RHCP song “Can't Stop” on personalised headphones. This places the performance against a relatively silent backdrop, punctuated by an eerie soundscape of foot stamping, breathing and spontaneous bursts of the performers untrained singing voices. This minimal soundscape will allow the audience to consider the behaviour and movement of each character out of context. In fact, it is critical to the artist that the audience does not know that they are interpreting RHCP, rather that they view the work with limited cultural referencing, allowing them to perceive the performative bodies as new gestures of gender representation.
The performance is to be captured, and presented as a satirical interpretation of a “music-video”, lasting ~5 minutes and presented as a fixed video-installation with audio. To produce the video, the artist will utilize green-screen and compositing technologies to place the performers against a cloudy blue sky. The edit will mimic that of a classic music video, embracing fast-paced cuts and multiple camera angles, zooms and panning. The installation will mimic that of an early 2000’s living room - the “MTV era” - with a disorganised entertainment system, velour couch, grey carpet, a bag of neon orange chips and a bottle of flat pepsi. Audience members can sit on the couch and watch the “music video” with headphones, only to realize that there is no music, rather only the heavy breathing and footstamping of the performers on screen.
CAN'T STOP // 2023
Fine Art Print, 50cm x 70 cm
For Tanztage Berlin 2026, Hermione Flynn propose the creation and exhibition of new performance work, “PERMISSION” (working title) - an addition to the artists ongoing creative practice, exploring gender through the act of dance, embodiment and imitation. As a non-binary, fem-presenting artist, Flynn is developing this work as a satirical commentary on the perception of masculinity, as an unexamined byproduct of youth and popular culture.
MACBOOK PRO, SONY ALPHA 7IV R // 2024
Left: video projection, Right: Fine Art Print 70cm x 100 cm
The featured works are selected from a series of images captured in collaboration with fellow photographer and friend, Evelyn Bencicova. The three artists photographed themselves and each other in a repetitive choreography, featuring three photographic devices - a digital camera, an analogue camera and a laptop. The work is an extension of Flynn and Krawczyk’s egalitarian approach to the photographic practice, and with the participation of an additional collaborator, is an exercise in nurture-culture, where co-creation, vulnerability and intimacy exists alongside individual and autonomous creative expression.
In this video-sketch the improvised choreography produced by the subjects - as a result of the photographic creative process - is portrayed as a performance-work in it’s own right. In the production of the still-image, the subjects position themselves in relation to the photographic devices and then activate the shutter to capture a specific moment in time and their bodies within the frame. However, this omnipresent video-recording exposes this process and reveals the intimate moments in-between each composition. In witnessing this, the audience has an inside-eye to the personal dynamic between the participants - a byproduct of the image production that is often hidden in the presentation of photographic works. Flynn and Krawczyk highlight this as a nod to their pursuit of alternative relational practices, queer dynamics and the act of non-hierarchical co-creation. www.flynnandkrawczyk.com/sony-alpha
STACY’S MOM IS ON ANOTHER PLANET // 2023
Stacy’s Mom Is On Another Planet is a video sketch developed by Flynn and Krawczyk as a satirical commentary on the artists unique perception of masculinity as an unexamined byproduct of youth and popular culture. The work portrays each artist embodying a celebrated male pop persona through the medium of dance. Wearing personalised headphones, the music accompanying the dance is experienced by the individual performer only, and remains unheard by one another or by the audience. This places the dance against a relatively silent backdrop, punctuated by foot tapping, breathing and spontaneous bursts of the artists untrained singing voices. This minimal soundscape, combined with the sterile white backdrop, allows the audience to consider the behaviour and movement of each character out of context. This concept is further enhanced by the characterisation of these male stereotypes, now performed through non-binary, fem-presenting bodies. This work is one of an ongoing series in development by Flynn and Krawczyk.
CAN'T STOP // 2023
Fine Art Print, 50cm x 70 cm
For Tanztage Berlin 2026, Hermione Flynn propose the creation and exhibition of new performance work, “PERMISSION” (working title) - an addition to the artists ongoing creative practice, exploring gender through the act of dance, embodiment and imitation. As a non-binary, fem-presenting artist, Flynn is developing this work as a satirical commentary on the perception of masculinity, as an unexamined byproduct of youth and popular culture.
CAN'T STOP // 2023
Fine Art Print, 50cm x 70 cm
For Tanztage Berlin 2026, Hermione Flynn propose the creation and exhibition of new performance work, “PERMISSION” (working title) - an addition to the artists ongoing creative practice, exploring gender through the act of dance, embodiment and imitation. As a non-binary, fem-presenting artist, Flynn is developing this work as a satirical commentary on the perception of masculinity, as an unexamined byproduct of youth and popular culture.
The performance is to be captured, and presented as a satirical interpretation of a “music-video”, lasting ~5 minutes and presented as a fixed video-installation with audio. To produce the video, the artist will utilize green-screen and compositing technologies to place the performers against a cloudy blue sky. The edit will mimic that of a classic music video, embracing fast-paced cuts and multiple camera angles, zooms and panning. The installation will mimic that of an early 2000’s living room - the “MTV era” - with a disorganised entertainment system, velour couch, grey carpet, a bag of neon orange chips and a bottle of flat pepsi. Audience members can sit on the couch and watch the “music video” with headphones, only to realize that there is no music, rather only the heavy breathing and footstamping of the performers on screen.