Katharina Sieverding
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 Image � Katharina Sieverding, Courtesy Galerie Thomas Schulte, Berlin " alt="Katharina Sieverding, Installation view of "Projected Data Images", 2009 Image � Katharina Sieverding, Courtesy Galerie Thomas Schulte, Berlin "/>
Katharina Sieverding, Installation view of "Projected Data Images", 2009
Image � Katharina Sieverding, Courtesy Galerie Thomas Schulte, Berlin
- Image � Katharina Sieverding, Courtesy Galerie Thomas Schulte, Berlin
">Katharina Sieverding, Installation view of "Projected Data Images", 2009
Image � Katharina Sieverding, Courtesy Galerie Thomas Schulte, Berlin
- Image � Katharina Sieverding, Courtesy Galerie Thomas Schulte, Berlin
">Katharina Sieverding, Installation view of "Projected Data Images", 2009
Image � Katharina Sieverding, Courtesy Galerie Thomas Schulte, Berlin
- One channel digital projection, Size variable
Image � Katharina Sieverding, Courtesy Galerie Thomas Schulte, Berlin
">Katharina Sieverding, Projected data images 1-4 (1) [Edition of 7 + 1AP], 2009
One channel digital projection, Size variable
Image � Katharina Sieverding, Courtesy Galerie Thomas Schulte, Berlin
- One channel digital projection, Size variable
Image � Katharina Sieverding, Courtesy Galerie Thomas Schulte, Berlin
">Katharina Sieverding, Projected data images 1-4 (2) [Edition of 7 + 1AP], 2009
One channel digital projection, Size variable
Image � Katharina Sieverding, Courtesy Galerie Thomas Schulte, Berlin
- One channel digital projection, Size variable
Image � Katharina Sieverding, Courtesy Galerie Thomas Schulte, Berlin
">Katharina Sieverding, Projected data images 1-4 (3) [Edition of 7 + 1AP], 2009
One channel digital projection, Size variable
Image � Katharina Sieverding, Courtesy Galerie Thomas Schulte, Berlin
- One channel digital projection, Size variable
Image � Katharina Sieverding, Courtesy Galerie Thomas Schulte, Berlin
">Katharina Sieverding, Projected data images 1-4 (4) [Edition of 7 + 1AP], 2009
One channel digital projection, Size variable
Image � Katharina Sieverding, Courtesy Galerie Thomas Schulte, Berlin
- Four channel projection, each channel � 20 images, Size variable
Image � Katharina Sieverding, Courtesy Galerie Thomas Schulte, Berlin
">Katharina Sieverding, Projected data images [Edition of 7 + 1AP], 2009
Four channel projection, each channel � 20 images, Size variable
Image � Katharina Sieverding, Courtesy Galerie Thomas Schulte, Berlin
- DVD, 1964-2008, 34. min PAL
Image � Katharina Sieverding, Courtesy Galerie Thomas Schulte, Berlin
">Katharina Sieverding, Foto-Film [Edition of 7 + 1AP]
DVD, 1964-2008, 34. min PAL
Image � Katharina Sieverding, Courtesy Galerie Thomas Schulte, Berlin
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Close Up: Katharina Sieverding
Intimacy on a Large Scale:
A Conversation with Katharina Sieverding
db-artmag.de
contd
You�ve also implemented your portraits in public space � including the advertising billboards bearing your photograph with the caption "Deutschland wird deutscher" (Germany is getting more German). What interested you in using advertising strategies for a criticism of the reawakening of nationalism?
Rudi Fuchs had invited me to take part in the 1992 project Platzverf�hrung in 18 cities in the cultural region surrounding Stuttgart. I tried to create an up-to-date, enigmatic image for 18 public urban spaces. The entire project fell through due to censorship, but was then enthusiastically realized by several art institutions on 500 billboards in and around Berlin. This image construction has to do with advertising and self-healing: "similia similibus"�
The photograph for the campaign was made during the time you worked at a circus with a knife thrower. How did this cooperation come about?
In the performative art context of the time, I was interested in the public interface of acting and circus, its audience, and their immediate reaction � not the special space of art, but rather the trivial, the vulgar, entertainment � places where glamour can arise.
Throughout the nineties, it was chiefly the numerous British women artists that became known for their stagings of self, such as Tracy Emin, Sarah Lucas, or Sam Taylor-Wood. For Emin, it�s chiefly her liberal treatment of sexuality that plays an important role. Where, for you, is the line to voyeurism and exhibitionism crossed?
Voyeurism and exhibitionism can be performative political artistic strategies that critically reveal much about ideologically established economies.
As with Cindy Sherman�s art, the viewer remains unclear about the gender roles in your works. On the other hand, younger women artists are implementing post-feminism to generate their ironic games: the Japanese artist Mariko Mori , for instance, appears in her videos as a geisha. How can a progressive image of women be created today when women are so often stylized as nothing more than sex objects in MTV clips and the fashion world?
Create a progressive image of women? Is that what we want? Wouldn�t the critical artistic research into identity and production wind up in a pre-modern dead end?
You�ve been professor at the Hochschule der K�nste in Berlin since 1992. Are your own personal experiences with the art establishment important in the education process? What do you give the students, and especially the women students, to take with them?
In my publicly accessible teaching practice, the development of students� work forms the center of all concentration and criticism. It demands a time-consuming, marathon-like cooperation among all energies involved to collectively locate and free the cause of art from generation to generation; in reference to existing immune and market systems, economies, cultural industries, and on to bio-politics � to scan all that and process it, to offer a contribution for disposition in the post-postmodern "space."
Translation: Andrea Scrima
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Katharina Sieverding
Berlin
Germany
Europe
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Web Links
Galerie Christian Lethert, Koln
Galerie Thomas Schulte, Berlin
Galerie Grimm/Rosenfeld, Munich, New York
Kunst-Werke Berlin
P.S.1, New York
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