When it comes to social mobility, there is no guarantee of return and the conditions of exchange remain unclear. Hendrik Quast approaches his class change from non-academic circumstances to the art world via detours: re-enactments of various experiences of foreignness, repetitions of coming outs, and strategies of adaptation and assimilation. The material for these performances represents a personal archive of price tags, labels and tags. Interpreting and implementing dress and costume codes of the theater and art world become an incessant process of teasing and passing while changing classes. In a staged meal, Quast plans to eat these labels. Through the act of the price tag meal, he reflects on fantasies of conformity, envy of embodiment, unmediated histories of origin and illness against the backdrop of class (non)belonging. In doing so, he exhibits the artistic activity of the class changer as a fragile process of labeling and relabeling one's identity and practice on and off stage.
"Until I am convinced after shopping that the things fit me and I fit them, I leave the price tags on.But when the exchange period expires, I would like to eat them up. Otherwise, what I afford might come out. By having this meal, I'm playing it safe that really no one finds out what I'm worth now."
Media partners: Arts of the Working Class, Berlin Art Link, Das Wetter, Missy Magazine, Siegessäule, taz.This content has been machine translated.