PRINT October 2006


ALTHOUGH KEREN CYTTER’S WORK is shown in galleries and uses video, it would be a mistake to automatically categorize her oeuvre as video art; if anything, her most significant contribution to the medium might come from the way she cuts against its grain. The Israeli-born, Berlin-based artist has made some forty works since 2001, but they take a good many of their stylistic features from television, and Cytter herself refers to them as “films.” “I think in the beginning I called them films,” Cytter told me in an e-mail, “because I saw them as movies.” By this I believe she means they are focused on narrative, on situations, on conjuring a fictional world—and even on entertaining, despite the fractured, oblique nature of her stories. Her medium, then, might be called cinema rather than video: She’s an auteur as much as an artist.

An exhibition at the Kunsthalle Zürich last year featured

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