• View of “Cordula Ditz,” 2016. Foreground: One Uses Her Beauty for Love! One Uses Her Lure for Blood! (detail), 2016. Background, from left: Mirror, Mirror / Droopy Emoji (Helpless), 2016; Kiss Tomorrow Goodbye (detail), 2016.

    Cordula Ditz


    A montage of cinematic anxiety-dream imagery, a visual space composed of B-movie and trashy horror footage, Cordula Ditz’s solo show “Kiss Tomorrow Goodbye” was dominated by a two-channel video installation of the same title, dated 2016, with its large-format projections, one on a wall, the other on a screen set up in the middle of the room. Rather than tracing the arc of an action, the video unfolds in the mode of free association; one focus of Ditz’s selection was on stereotypical images of the artist and of femininity. Isolated from their original contexts but still informed by the specific

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