The Storyteller, the Flaneuse and The Flying Zebra
Many of my works has been focusing on creating the context as well as the work itself, putting myself in relation to people and places that are new and unknown to me. Each work poses many questions along the way of becoming. What happens when the place of art is no longer the museum, art gallery or art hall but an abandoned factory, a shopping mall, a military base or a traffic terminal. What difference does it make for the becoming of a work and the way it is perceived when the work involves people that, for various reasons are connected to these specific sites. The very slow, conscious and intuitive process of negotiations, deliberation, listening, reading, and questing becomes the work of art expressed in a variety of forms; videos, stagings, text, sound, images and performances. This is not only a way to navigate through systems, stories, visions and tales. It is a way to pose questions, to learn, to change perspective, continue the conversation, invent new relations, orders, games and structures. My work is focusing on the complexity of the relations and the gaps between the individual and the multitude of situations, sites, memories, relations, expectations that constitute her self-image and understanding of her world.
Katarina Nitsch, May 2011