female trouble are a friendship based collective (Roni Katz, Agata Siniarska, Xenia Taniko Dwertmann) working in Berlin since 2013. We share a mutual process of artistic, intellectual, personal and political exchange revolving around art(istic) work(s), bodies, femininities and feminisms. female trouble initiated the public platform VULVA CLUB with the objective of bolstering and activating a community.
VULVA CLUB is a regular event series, an attempt towards peripheral visibility. With VULVA CLUB female trouble invite guests and fellows to choreograph the encounters of art/works, people, communities and conversations - all through mutual affection in real time. On other occasions we perform our practice of circulating scores that accumulates and reformulates three bodies reading, writing and dancing with one another.
Ruth Novaczek is a filmmaker who has exhibited her experimental, vernacular films and installations nationally and internationally since the 1990s. She works with ecriture feminine, subjectivity and narrative, and uses found footage, live action, and documentation in mash-ups that challenge the ‘traditional’ avant-garde moving image culture. She addresses cultural and sexual identities through music, writing, and cinema which are embedded in her densely montaged films.
She studied film and video at St. Martins School of Art, and has a PhD by practice from the University of Westminster where she is a Visiting Research Fellow. She is an advisor at the Transart Institute MFA/PhD program.
Laure Cottin Stefanelli is a French artist based in Brussels and Paris working in film and photography. She studied literature and cinema at Paris III University and graduated from École Nationale Supérieure des Arts Décoratifs de Paris in 2010 with honours. She has exhibited in group shows and festivals across France, as well as in Los Angeles, Montréal, Taiwan, London, Brussels and Essen, among others. "As a visual artist Laure Cottin Stefanelli is dealing with very basic issues of conceptual photography and film: Where do « I » – in a philosophical and personal way – end, and where does the other start? «How can the limits be exposed, how can this dark and wild in-between zone be embraced? Which role does the camera play, is it rather receiver or producer, and if it’s something in between, how to expose that? In that sense it is a highly contemporary practice in between the eroticism of participation and the distance of observation." (Martin Germann, senior curator S.M.A.K, Gent, BE)