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Curated by Linda Stupart

@The Horse Hospital 

15 JUL 2017

Love is co-opted into state and racial violence (don’t you love your country?).

Our care work is undervalued, unpaid, our caring a sign of weakness. 

Our anger is unproductive, we are told by straights and academies and editors and families and men. 

Join us for an evening of screenings and performances articulating the strange and vital and complex intersections of love, rage, care, and survival, especially from feminist, queer, and anti-racist perspectives. 

Ayesha Tan-Jones will also be running a self-defense protection charm workshop in the afternoon using protective herbs, runes and chants to create a pepper spray protection amulet to guard you physically and psychically. 

The event is open to all women (trans, intersex and cis), and all those who experience oppression as women (including non-binary and gender non-conforming people). There will be no policing of this policy whatsoever by organisers, artists, or the audience – if you feel you fit this description, you are welcome. 

Gender inclusion policies are difficult and imperfect. Eimear Walshe will be producing a zine reflecting on some of their personal encounters with gender separatism and inclusion policies, which is the focus of their current research.

All funds from tickets to go to Sisters Uncut and S.W.E.A.T. 


Self Defense workshop with Ayesha Tan Jones: 16:00 – 18:30
Screening and performance event: 19:00 – 21:30



Ayesha Tan-Jones, Eimear Walshe, Hannah Black, Nina Wakeford, Felix Kawitzky, Buhlebezwe Siwani, Caspar Heinemann, Mijke van der Drift & Alex Reuter, Marianne Thesen Law, Sharon Kivland, Laura Nicholson, Victoria Sin, Clémentine Bedos, 
Michelle Williams Gamaker, Daniel Brathwaite-Shirley, Linda Stupart

Un chant d'amour [transposed] (2017)


My Grand Mother, Jeanne Durand, spent most of her life behind the walls of institutions. Labelled 'schizophrenic', she was incarcerated; her mind and body burnt through chemicals, rendered invisible for being a little too ‘illuminé’ – in other words 'hysterical'. Prisons and asylums became her allocated Home, in which she draws, day and night, the flowers that with my young mother she used to sell in the streets. Now her colourful felt-tip pen drawings reach us by post. This is the breach through which her love flows, transcending the constraints that are pressed upon her. Uncontainable, this is the bleeding love my Grand Mother Jeanne transmitted to us. 

Jean Genet – who was also raised in public care and later imprisoned for 'vagrancy' and 'petty crime' - is somehow part of the family. In prison, he wrote as a way out, texts such as Our Lady of the Flowers, The Miracle of the Rose, always placing at the heart of his work this recurring motif of flowers. Un chant d'amour, his only film, portrays the strange friction between a cold touch and a burning eroticism in the prison environment. Tonight at the Horse Hospital, in front of an audience exclusively composed of women (trans, intersex and cis), I am transposing the story of Jean to the one of Jeanne, to explore the distance that separates one genre from the other. Heterosexual performance was the ground of my secluded queer sexuality finally revealed through the shedding of feminine props. 

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