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Hello Boys documents a performance at the Gallery Gerald Piltzer in Paris. Seen through the glass of a large fish tank, Wilke, nude, performs a repertoire of studied erotic gestures to the accompaniment of rock music. Entrapped in her fish bowl, on display behind glass, she is both subject and object. Suggesting the iconic female figure of a mermaid, with its ambiguous implications of sexual power and powerlessness, Wilke explores the representation of female sexuality and the male gaze.
Assuming roles of both performer and director in "Gestures", Wilke explores her own face as artistic material. Whether kneading her skin into misshapen contortions or enacting stereotypical poses, she stages a fluid, continuous sequence of actions in front of the camera. Her performance calls attention to and deconstructs familiar representations of women, as well as encourages the viewer's personal or cultural associations with these gestures while also reclaiming agency over such depictions as her own.
In this haunting performance, Wilke conflates the private and the public as autobiographical theater. The audience "eavesdrops" on a series of phone messages intended for Wilke, recorded from her answering machine. This voice-over litany of messages becomes an intimate if one-sided narrative of Wilke's life, a diary of personal and professional relationships — family, lovers, friends, colleagues — that is oddly elegiac. Wilke strips to reveal that her body is covered with the names of the individuals we have heard speaking; she then methodically removes the names until all traces have disappeared.
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