“欲望的隐晦目的”——沈晔个展
焦虑为艺术家的工具
艺 术 家：凯伦•塞特
策 展 人：比利安娜•思瑞克
开幕酒会：2012.3.30 16:00—18:00
展览日期： 2012.3.30—5.20
展览地点：魔金石空间 北京市朝阳区酒仙桥路2号798艺术区798东街
Anxiety as an Artistic Tool
Artist: Keren Cytter
Curator: Biljana Ciric
Opening: Mar. 30th , 2012, 16:00
Duration: Mar. 30th – May 20th, 2012, Tue. - Sun., 10:30 – 18:30
Venue: Magician Space, 798 East Rd., 798 Art Zone, No.2 Jiuxianqiao Rd.,
Chaoyang Dst., Beijing
焦虑为艺术家的工具
文：比利安娜•思瑞克
凯伦•塞特在过去十年间，以不同的媒介创作了大量作品，包括多部电影、舞台话剧、出版了三部小说，并成立了“D.I.E. Now – Dance International Europe Now”（舞蹈•国际•欧洲•现在）剧团。文字写作和语言在她的创作中扮演着极为重要的角色，这在其他艺术家的工作中是很少见的。塞特或许会说，对于她，拍电影比写小说容易得多， 但正是她高强度的“写作式”思维方式——她往往能在很短的时间写作故事和小说——在不同的程度上、从不同方面影响了她创作电影的方式。
虽然凯伦•塞特会在艺术的语境里展示她的视频作品，但是对她来说，它们始终是电影。她的电影与她的写作有密切的关系，而且剧本是非常重要的一部分，因为每个镜头已经给事先安排好 -- 从镜头的动向以至身体语言、演员和视觉效果等。她让观众在网上和在展览里都能观赏她的作品-- 你能在她的YouTube频道：The Definitive collection of Keren Cytter, the video artist from an obscure country （完全凯伦•塞特集，来至神秘之国的视频艺术家）上找到她所有的影视作品。
从塞特写的剧本中你会发现每个情节都早在写作过程中给决定了，在拍摄过程中有很少即兴的发挥空间。电影里似曾相识的情节会有时令人坐立不安，故事有时更会显得荒谬，但永远围绕着男女关系、爱、嫉妒心和各种情绪状态。她电影里的年青人大部分都是业余演员 – 穿着简约的装束，而故事发生的地方总会让我们联想到邻居的破旧房间（其实，赛特在柏林的家是她多部作品的主要拍摄地点）。
赛特的电影和话剧里用的业余年青演员会以与一般职业演员不同的表达方式演绎，通常缺乏情绪上的表达。这批业余演员和她跟专业演员合作能营造一种在真实与虚构之间的挣扎。她探讨在艺术和日常生活中我们所忽略的规条和常理，而这些规条不但统领我们的一举一动，而且能影响到我们的情绪和表达的方式。她的作品包括不同的风格 – 悲情、惊栗、悬疑以至肥皂剧，但她的电影/故事无法提供预期中的娱乐性，给人有既熟悉感又有些毛骨悚然的感觉。
她在作品中的表达方式有一程度的真诚，令它的虚构部分显得额外明显。在她的剧本里，演员通常会以口述电影里的字幕或剧本里的文字来突破话剧和真实世界的界限。提醒着我们在看的是个舞台表演，而表演者都是被招聘而来的。在《演绎.真实.戏剧》里，演员 苏珊娜•梅耶说： 我的名字是苏珊娜•梅耶…我是被聘而站在这里的…
虽然是叫做电影，这些视频作品都是以手握式录影机拍摄的。在访问中她经常提起昆汀•塔伦蒂诺、拉斯•冯•提尔、阿尔弗雷德•希区柯克、皮埃尔•保罗•帕索里尼为她作品的灵感。语言在她的电影里也是个主要的元素。演员会以英语到德语到法语演绎，声音重叠着，背景的声音渐进渐退，又重复的重叠着。她在许多的作品中挑战时间的顺序性和大众电影和戏剧中所营造的时间概念，因此，许多情节和部分的剧本会重复的出现，而故事会向意想不到的方向发展。在她在中国的首个个展中，赛特将会以四个影视作品来呈现她在过去十年里创作的概观（虽然为一个制作了四十多部电影的她来说，这是一个艰难的任务）。
她早期在以色列的作品 – Brush （梳）2001，是她第一部的长编电影，对她来说是一个重要的转变点。在2007年做了英语配音，她用在电影开幕时出现的一把金属发梳来做一个象征，把这个一男一女邂逅的爱情故事分为六部曲。在这个故事中，其象征既是他们爱上对方的原因，也是在最后他们分开的理由。他们的关系最终只成为了**令观众更能深入的了解角色内心的孤独和焦虑。因为它是一部黑白电影，有英语配音，所以会令观众联想到早期的电影，只是比较低成本的制作，其配音则加深了在观众听到的语言和演员间沟通的语言之间的距离。
在2007 制作的Der Spiegel《镜子》，是赛特用专业演员的作品中最常展览的其中之一。这部电影的节奏很快和对话是很紧凑的念出来的。《镜子》是关于一个四十多岁的女人面对着自己在镜子里的倒影，而她在男人的眼里不是一个少女而是个女人的事实。她、丈夫与情人的三角关系紧紧地，无止境的包围着那份对爱和被爱的欲望。
Four Seasons 《四季》有悬疑片的气氛，戏剧性的音乐。开场是一个男人在自己的浴缸里流着血，而一个女人 – 他的邻居，露丝，因为他家里的噪音而过来投诉。这个男人一次又一次的叫她做“斯特拉”，故事在重叠的时空里，穿梭着在两个女主角之间 -- 其中一个是个被男人谋杀的受害者， 而另外一个则在日常的生活环境下呈现着。两个似乎是陌生人，但却拥有相同的记忆，也同时充满着热情和暴力。在两个叙述中，有一把中性的男人声音间断的描述着博尔赫斯的短编故事《什么都是什么都不是》里启发的迷宫建筑。除了在这作品里所取用不同揭露电影里的人造性质的方式，《四季》也是充满着紧凑的气氛和有诗意的情景的。
在她最新的作品中，Video Art Manual 《视频艺术手册》，开场是一个拍着一个青年在办公室里的镜头，自信满满的解释着他将会揭开新媒体所营造出的一类新观众（就是其内容的制作人）的奥秘。后来在故事发展中有电力短路，导致没有互联网、热水、电视、手机、冰箱等，只有在那起初发表手册的男孩的桌上一部木造的鸭子电话还能用。《视频艺术手册》提及到人类生活中的厌倦和忧愁，而我们独处的时候无法避免想到的题材 -- 死亡和自身的孤独。没有任何形式上的娱乐。带着一份幽默感，赛特观察着今天的影像制作 -- 它的销售和消费，以及它对每天生活上的影响，问着：你能否想象没有能源的明天？
凯伦•赛特利用自己的疑惑和焦虑来做作品的起点 – 人际关系所包含的疑惑和焦虑、沟通、娱乐的选择、生活和艺术中的影像制作等等。她的作品令我们想起人类基本价值观所缺乏的信念。
除了个展以外，凯伦•赛特也将会在北京和上海呈现她的剧场作品《演绎.真实.戏剧》。
魔金石空间诚邀您参加艺术家 凯伦•塞特 在北京的系列艺术活动
艺术家讲座
时 间：2012.3.29, 14:00—16:00
嘉 宾：凯伦•赛特
主持人：比利安娜•思瑞克
地 点：尤伦斯当代艺术中心报告厅
焦虑为艺术家的工具
艺 术 家：凯伦•塞特
策 展 人：比利安娜•斯瑞克
展览日期： 2012.3.30—5.20
展览地点：魔金石空间
开幕酒会：2012.3.30 16:00—18:00
剧场作品：演绎.真实.戏剧
艺 术 家：凯伦•塞特
时 间： 2012.3.31, 14:00
演出地点：北京蓬蒿剧场（东棉花胡同35号中央戏剧学院东侧）
凯伦•赛特（Keren Cytter），1977年出生于以色列特拉维夫市，现生活工作于柏林。2009年，凯伦荣获绝对伏特加公司颁发的首届“Absolute艺术奖”，并入围柏林国家美术馆青年艺术大奖提名。2008年，凯伦荣获年度Ars Viva奖及德国联邦经济部文化委员会颁发的视觉艺术奖。她还于2006年获颁瑞士巴塞尔巴罗塞艺术奖（Bâloise Art Prize）。
艺术家近期个展包括：“凯伦•赛特：雪崩”，阿姆斯特丹市立美术馆，阿姆斯特丹，荷兰，2011；“一年中最热的日子”，慕尼黑艺术协会，慕尼黑，德国，2011；“凯伦•赛特：雪崩”，Pilar Corrias画廊，伦敦，英国，2011；“凯伦•赛特：雪崩”，大卫•罗伯茨艺术基金会，伦敦，英国，2011/现代艺术博物馆，斯德哥尔摩，瑞典，2010。
她的作品还曾在2010光州双年展、2009年第53届威尼斯双年展、2009年纽约新美术馆首届三年展“比耶稣还年轻的一代”、2008年横滨三年展、2008年“欧洲宣言（七）”等大型国际艺术展中呈现。
此外，凯伦•赛特还于2008年创立舞蹈戏剧社D.I.E NOW。她与D.I.E NOW合作的戏剧作品《创造中的历史》（又名《琳达•舒尔茨的秘密日记》）曾在伦敦泰特现代艺术馆、柏林赫伯剧院（HAU）和埃因霍温Van Abbe博物馆演出。
凯伦•赛特的文字作品包括：《莫瑟•克林伯格了不起的真实故事》（限量版，巴黎，2009）、《特里尔先生二十四章节生命中最精彩的7小时》（鹿特丹，2008）、新作《白色日记》也已由日本北九州当代艺术中心出版。
如需更多信息，请联系：
For further information, please contact:
T +86 10 59789635 E info@magician-space.com W www.magician-space.com
Anxiety as an Artistic Tool
By Biljana Ciric
Over the last decade Keren Cytter has created a complex body of work, including a number of films, theatrical plays, published three novels, and established D.I.E Now, a theater company whose name stands for Dance International Europe Now. She is also one of a rare breed of contemporary artists in whose work writing and language takes a critical role. Cytter would probably argue that it is much easier to make films than to write novels, but her intensive way of writing ─ writing stories and novels in very short bursts of time ─ has, in many ways, influenced her approach to film-making.
Although Cytter shows her video works in an art context, she refers to them not as video works, but rather as films. Her films are closely related to her writing and very much depend on the script, as every shot in the film has already been written down and decided upon, from the movement of the camera to the physical movement, actors, and visual effects. All of her films can be accessed on her YouTube channel: The Definitive collection of Keren Cytter, the video artist from an obscure country. Thus, she gives her potential audience the option to either see the works online or in the exhibition context.
If you have a look at one of Cytter’s scripts you will see that each sequence is already decided through the writing process, and there is very little improvisation in terms of the filming. The fragmented narratives in the films seem familiar but are still disturbing. The stories are at times absurd, and always structured around men and women, love, jealousy, relationships, and emotional states. The young people in her films ─ most of the time, non-professional actors ─ wear casual outfits, while the places that the stories take place remind us of our neighbors’ rundown apartment (and actually, many of the films are shot in artists’ apartments in Berlin).
As mentioned, the young people that Cytter collaborates with in her films and plays are not trained actors most of the time. They present the script in very different tone than would professional actors, marked by the lack of emotional expression. The selection of non-professional actors and the way in which she works with trained actors conveys an interesting aspect of the atmosphere produced between reality and the filmed performance, producing a certain conflict between reality and fiction as well as between reality and representation. She investigates the rules and norms of representation that we take for granted in art, and life as well. These rules not only govern our actions but emotional states and how we express them. She uses different genres too, from melodrama, thriller, and film noir to soap operas, making her films/stories very familiar but disturbing at the same time as they don’t provide the expected satisfaction of pure entertainment.
Her work presents a certain degree of honesty in its representation so that its artificial side is made more than obvious. In her scripts, actors usually break the boundary between play and reality, through said sentences referring to the subtitles in the film of script itself, reminding us that what is seen is a staged performance, and that the players are paid to be there. In her play SHOW REAL DRAMA, actress Susanne Meyer says: My name is Susanne Meyer… I am paid to be standing here and talking to…”.
Although called films, the videos are shot in a homemade style with a hand held camera and shaky shots. In interviews she usually mentions Quentin Tarantino, Lars von Trier, Alfred Hitchcock, Pier Paolo Pasolini as inspiration for the works. In her films language plays a very important role. Actors usually switch from English to German to French, voices overlap each other, voices in the background appear and disappear, and overlap again and again. In many of the works she challenges a chronological notion of time and how time is developed in mainstream film and theater. Thus, many actions and parts of the scripts appear over and over and the story usually progresses in unexpected directions. For her first exhibition in China, Cytter will present four films works that will act as a small overview of Cytter’s work over the last decade (although this will be difficult to do, as she has produced over 40 films in that time).
Her early work “Brush” made in 2001 in Israel, was an important transition for her as it was her first lengthy film production. Dubbed into English much later in 2007, the artist developed a love story in six parts between a man and a woman who are brought together through a symbol on a metal hair brush that appears at the beginning of the movie. In this story the symbol is both the reason for them to fall in love and, in the end, the reason that they separate. The fact that their relationship turns out to be a one night stand gives further insight into the loneliness and anxiety within both of the characters. The fact that it is a black and white movie, dubbed in English, creates yet another layer that somehow reminds the viewer of early film production, but in a very low-tech format, where the dubbed language creates a slight distance between the language heard and the actual language of the actors.
“Der Spiegel,” produced in 2007, is one of the most exhibited works by Cytter, for which she worked with trained actors. The rhythm of the movie is very fast and the dialogues are chanted to an urgent rhythm. “Der Spiegel” tells the story of woman in her forty’s facing her naked image in the mirror, and the fact that she is not a girl but a woman in the eyes of men. The desire for love and to be loved is enveloped in a complex love triangle between woman, husband and lover, presented in a looped format without end.
“Four Seasons” has the atmosphere of a thriller, with dramatic music. The opening scene involves a woman bleeding heavily in his bath tub while a woman ─ his neighbor, Lucy ─ comes over to complain about the noise. The neighbor calls her again and again “Stella.” The story overlaps in time between two characters wherein one woman is brutally murdered by a man, while in the other they are shown in a home setting. The two seem to be strangers, but share the memory, full of passion and violence. The narrative between the two is interrupted by a rather neutral male voice, describing labyrinthine architecture inspired by Borghes’ short story “Immortal.” Aside from the ways that the film uncovers and makes apparent certain artificial aspects of cinema, “Four Seasons” is filled with a great intensity and consists of poetic scenes.
In her latest work, “Video Art Manual,” the piece starts with shot of a young man in an office like setting who confidently explains that he will reveal the mysteries of the new media that established a new type of viewer (i.e. those who became the producers of content). The story shifts when there is an electricity outage, and consequently there is no internet, no hot water, no TV, no mobile phones, no refridgerator. The only thing working is a wooden duck telephone that was sitting on the table of the young man who first introduced the manual. “Video Art Manual” touches on issues of human boredom and melancholy, when the only thing them mind turns to in these moments when we are left alone is death and our own loneliness. There is no other possible entertainment. With a sense of humor, Cytter looks at today’s image production ─ its distribution and consumption, as well as how it influences daily life. Asking simply: Can anyone imagine tomorrow without power?
Keren Cytter applies her own doubts as points of departure for her work ─ doubts and anxiety in human relations, communication, our choices of entertainment, image production in life and art, and so on. Her work reminds us of the lack of belief in basic human values.
Aside from the solo exhibition, Keren Cytter will also present her play “SHOW REAL DRAMA” in Beijing and Shanghai.
By Biljana Ciric
Over the last decade Keren Cytter has created a complex body of work, including a number of films, theatrical plays, published three novels, and established D.I.E Now, a theater company whose name stands for Dance International Europe Now. She is also one of a rare breed of contemporary artists in whose work writing and language takes a critical role. Cytter would probably argue that it is much easier to make films than to write novels, but her intensive way of writing ─ writing stories and novels in very short bursts of time ─ has, in many ways, influenced her approach to film-making.
Although Cytter shows her video works in an art context, she refers to them not as video works, but rather as films. Her films are closely related to her writing and very much depend on the script, as every shot in the film has already been written down and decided upon, from the movement of the camera to the physical movement, actors, and visual effects. All of her films can be accessed on her YouTube channel: The Definitive collection of Keren Cytter, the video artist from an obscure country. Thus, she gives her potential audience the option to either see the works online or in the exhibition context.
If you have a look at one of Cytter’s scripts you will see that each sequence is already decided through the writing process, and there is very little improvisation in terms of the filming. The fragmented narratives in the films seem familiar but are still disturbing. The stories are at times absurd, and always structured around men and women, love, jealousy, relationships, and emotional states. The young people in her films ─ most of the time, non-professional actors ─ wear casual outfits, while the places that the stories take place remind us of our neighbors’ rundown apartment (and actually, many of the films are shot in artists’ apartments in Berlin).
As mentioned, the young people that Cytter collaborates with in her films and plays are not trained actors most of the time. They present the script in very different tone than would professional actors, marked by the lack of emotional expression. The selection of non-professional actors and the way in which she works with trained actors conveys an interesting aspect of the atmosphere produced between reality and the filmed performance, producing a certain conflict between reality and fiction as well as between reality and representation. She investigates the rules and norms of representation that we take for granted in art, and life as well. These rules not only govern our actions but emotional states and how we express them. She uses different genres too, from melodrama, thriller, and film noir to soap operas, making her films/stories very familiar but disturbing at the same time as they don’t provide the expected satisfaction of pure entertainment.
Her work presents a certain degree of honesty in its representation so that its artificial side is made more than obvious. In her scripts, actors usually break the boundary between play and reality, through said sentences referring to the subtitles in the film of script itself, reminding us that what is seen is a staged performance, and that the players are paid to be there. In her play SHOW REAL DRAMA, actress Susanne Meyer says: My name is Susanne Meyer… I am paid to be standing here and talking to…”.
Although called films, the videos are shot in a homemade style with a hand held camera and shaky shots. In interviews she usually mentions Quentin Tarantino, Lars von Trier, Alfred Hitchcock, Pier Paolo Pasolini as inspiration for the works. In her films language plays a very important role. Actors usually switch from English to German to French, voices overlap each other, voices in the background appear and disappear, and overlap again and again. In many of the works she challenges a chronological notion of time and how time is developed in mainstream film and theater. Thus, many actions and parts of the scripts appear over and over and the story usually progresses in unexpected directions. For her first exhibition in China, Cytter will present four films works that will act as a small overview of Cytter’s work over the last decade (although this will be difficult to do, as she has produced over 40 films in that time).
Her early work “Brush” made in 2001 in Israel, was an important transition for her as it was her first lengthy film production. Dubbed into English much later in 2007, the artist developed a love story in six parts between a man and a woman who are brought together through a symbol on a metal hair brush that appears at the beginning of the movie. In this story the symbol is both the reason for them to fall in love and, in the end, the reason that they separate. The fact that their relationship turns out to be a one night stand gives further insight into the loneliness and anxiety within both of the characters. The fact that it is a black and white movie, dubbed in English, creates yet another layer that somehow reminds the viewer of early film production, but in a very low-tech format, where the dubbed language creates a slight distance between the language heard and the actual language of the actors.
“Der Spiegel,” produced in 2007, is one of the most exhibited works by Cytter, for which she worked with trained actors. The rhythm of the movie is very fast and the dialogues are chanted to an urgent rhythm. “Der Spiegel” tells the story of woman in her forty’s facing her naked image in the mirror, and the fact that she is not a girl but a woman in the eyes of men. The desire for love and to be loved is enveloped in a complex love triangle between woman, husband and lover, presented in a looped format without end.
“Four Seasons” has the atmosphere of a thriller, with dramatic music. The opening scene involves a woman bleeding heavily in his bath tub while a woman ─ his neighbor, Lucy ─ comes over to complain about the noise. The neighbor calls her again and again “Stella.” The story overlaps in time between two characters wherein one woman is brutally murdered by a man, while in the other they are shown in a home setting. The two seem to be strangers, but share the memory, full of passion and violence. The narrative between the two is interrupted by a rather neutral male voice, describing labyrinthine architecture inspired by Borghes’ short story “Immortal.” Aside from the ways that the film uncovers and makes apparent certain artificial aspects of cinema, “Four Seasons” is filled with a great intensity and consists of poetic scenes.
In her latest work, “Video Art Manual,” the piece starts with shot of a young man in an office like setting who confidently explains that he will reveal the mysteries of the new media that established a new type of viewer (i.e. those who became the producers of content). The story shifts when there is an electricity outage, and consequently there is no internet, no hot water, no TV, no mobile phones, no refridgerator. The only thing working is a wooden duck telephone that was sitting on the table of the young man who first introduced the manual. “Video Art Manual” touches on issues of human boredom and melancholy, when the only thing them mind turns to in these moments when we are left alone is death and our own loneliness. There is no other possible entertainment. With a sense of humor, Cytter looks at today’s image production ─ its distribution and consumption, as well as how it influences daily life. Asking simply: Can anyone imagine tomorrow without power?
Keren Cytter applies her own doubts as points of departure for her work ─ doubts and anxiety in human relations, communication, our choices of entertainment, image production in life and art, and so on. Her work reminds us of the lack of belief in basic human values.
Aside from the solo exhibition, Keren Cytter will also present her play “SHOW REAL DRAMA” in Beijing and Shanghai.
Magician Space Sincerely Invite You to Attend the Activities by Artist Keren Cytter in Beijing
Artist Lecture
Duration: 2012.3.29, 14:00—16:00
Guest: Keren Cytter
Moderator: Biljana Ciric
Address: UCCA Auditorium
Anxiety as an Artistic Tool
Artist: Keren Cytter
Curator: Biljana Ciric
Duration: 2012.3.30—5.20
Exhibition Site: Magician Space
Opening: 2012.3.30 16:00—18:00
Theater Work: SHOW REAL DRAMA
Artist: Keren Cytter
Opening: 2012.3.31, 14:00
Venue: Penghao Theater, 35 Dongmianhua Hutong
Keren Cytter was born1977 in Tel Aviv,Israel. She lives and works in Berlin. In 2009 she was awarded the Absolut Art Award and shortlisted for the Preis der Nationalgalerie für junge Kunst in Berlin. In 2008 she received the Ars Viva 2008; Preis für Bildende Kunst des Kulturkreises der deutschenWirtschaft, Berlin, and in 2006 the Bâloise Art Prize in Basel.
Her recent solo exhibitions include , Keren Cytter – Avalanche, Stedelijk Museum , Amsterdam – NL,2011, The Hottest Day of the Year, Kunstverein Munchen, Munich – DE,2011,Keren Cytter – Avalanch, Pilar Corrias, London – UK,2011, Keren Cytter – Avalanche, David Roberts Art Foundation, London –UK,2011, Moderna Museet, Stockhol,2010.
Her work was featured in Gwangju Biennale 2010, 53th Venice Biennale,2009, Generational- Younger then Jesus Triennale at New Museum 2009, Yokohama Triennale 2008, Manifesta 7, 2008.
Her play History in the Making, or the Secret Diaries of Linda Schultz with the dance company d.i.e. was presented at Tate Modern,London, Hebbel amUfer, Berlinand Van Abbemuseum, Eindhoven.
She is author of few books Keren Cytter: The amazing true story of Moshe Klinberg…, (limited edition, Paris 2009),Keren Cytter: The seven most exciting hours of Mr. Trier´s life in twenty-four chapters, (Rotterdam, 2008) and recent book White Diaries published by CCA Kitakyushi. Cytter also started dance and theatre company D.I.E in 2008.
Artist Lecture
Duration: 2012.3.29, 14:00—16:00
Guest: Keren Cytter
Moderator: Biljana Ciric
Address: UCCA Auditorium
Anxiety as an Artistic Tool
Artist: Keren Cytter
Curator: Biljana Ciric
Duration: 2012.3.30—5.20
Exhibition Site: Magician Space
Opening: 2012.3.30 16:00—18:00
Theater Work: SHOW REAL DRAMA
Artist: Keren Cytter
Opening: 2012.3.31, 14:00
Venue: Penghao Theater, 35 Dongmianhua Hutong
Keren Cytter was born1977 in Tel Aviv,Israel. She lives and works in Berlin. In 2009 she was awarded the Absolut Art Award and shortlisted for the Preis der Nationalgalerie für junge Kunst in Berlin. In 2008 she received the Ars Viva 2008; Preis für Bildende Kunst des Kulturkreises der deutschenWirtschaft, Berlin, and in 2006 the Bâloise Art Prize in Basel.
Her recent solo exhibitions include , Keren Cytter – Avalanche, Stedelijk Museum , Amsterdam – NL,2011, The Hottest Day of the Year, Kunstverein Munchen, Munich – DE,2011,Keren Cytter – Avalanch, Pilar Corrias, London – UK,2011, Keren Cytter – Avalanche, David Roberts Art Foundation, London –UK,2011, Moderna Museet, Stockhol,2010.
Her work was featured in Gwangju Biennale 2010, 53th Venice Biennale,2009, Generational- Younger then Jesus Triennale at New Museum 2009, Yokohama Triennale 2008, Manifesta 7, 2008.
Her play History in the Making, or the Secret Diaries of Linda Schultz with the dance company d.i.e. was presented at Tate Modern,London, Hebbel amUfer, Berlinand Van Abbemuseum, Eindhoven.
She is author of few books Keren Cytter: The amazing true story of Moshe Klinberg…, (limited edition, Paris 2009),Keren Cytter: The seven most exciting hours of Mr. Trier´s life in twenty-four chapters, (Rotterdam, 2008) and recent book White Diaries published by CCA Kitakyushi. Cytter also started dance and theatre company D.I.E in 2008.
这是她在中国的第一个个人展览
