Pilar Corrias

Keren Cytter

Keren Cytter

Keren Cytter

Untitled
Keren Cytter
2017
Markers on Reflective Solar Film Light Heater Film self Adhesive Mylar Mirror contact paper 23 x 20 in
Untitled
Keren Cytter
2017
Markers on Reflective Solar Film Light Heater Film self Adhesive Mylar Mirror contact paper 15 x 20 in
Untitled
Keren Cytter
2017
Markers on Reflective Solar Film Light Heater Film self Adhesive Mylar Mirror contact paper 19 x 20 in
Untitled (Pacific I)
Keren Cytter
2016
Rainbow scratch paper, pencil, paper, tape and ink 148.5 x 216 cm (overall)
Tattoos
Keren Cytter
2016
Pen and paper 71 x 116 cm (overall) 71 x 56 cm (each)
Selection
Keren Cytter
2016
Installation View: Künstlerhaus, Halle für Kunst und Medien, photo: Markus Krottendorfer
Selection
Keren Cytter
2016
Installation View: Künstlerhaus, Halle für Kunst und Medien, photo: Markus Krottendorfer
Selection
Keren Cytter
2016
Installation View: Künstlerhaus, Halle für Kunst und Medien, photo: Markus Krottendorfer
Untitled
Keren Cytter
2015
Marker on paper 101.6 x 101.6 cm
Keren Cytter: MCA Chicago
Keren Cytter
2015
Installation view: Keren Cytter: MCA Chicago Photo: Nathan Keay, © MCA Chicago
Keren Cytter: MCA Chicago
Keren Cytter
2015
Installation view: Keren Cytter: MCA Chicago Photo: Nathan Keay, © MCA Chicago
Keren Cytter: MCA Chicago
Keren Cytter
2015
Installation view: Keren Cytter: MCA Chicago Photo: Nathan Keay, © MCA Chicago
Keren Cytter: MCA Chicago
Keren Cytter
2015
Installation view: Keren Cytter: MCA Chicago Photo: Nathan Keay, © MCA Chicago
Keren Cytter: Kunsthal Charlottenborg
Keren Cytter
2014
Installation View: Keren Cytter, Kunsthal Charlottenborg Photo by Anders Sune Berg.
Keren Cytter: Kunsthal Charlottenborg
Keren Cytter
2014
Installation View: Keren Cytter, Kunsthal Charlottenborg Photo by Anders Sune Berg.
Keren Cytter: Kunsthal Charlottenborg
Keren Cytter
2014
Installation View: Keren Cytter, Kunsthal Charlottenborg Photo by Anders Sune Berg.
Corrections
Keren Cytter
2013
Digital HD video 8’ 22”
Corrections
Keren Cytter
2013
Digital HD video 8’ 22”
MOP (Museum of Photography)
Keren Cytter
2013
800 polaroids Dimensions variable
Museum of Photography A, Berlin-London
Keren Cytter
2012-2013
800 polaroids Dimensions variable
Museum of Photography B, USA)
Keren Cytter
2012-2013
800 polaroids Dimensions variable
Museum of Photography B, USA
Keren Cytter
2012-2013
800 polaroids Dimensions variable
Vengeance
Keren Cytter
2013
Digital HD video, colour, sound 7 episodes each 15’
Vengeance
Keren Cytter
2013
Digital HD video, colour, sound 7 episodes each 15’
Open House
Keren Cytter
2011
Digital HD video, 3D Anaglyph Red/Cyan 14' 56"
Open House
Keren Cytter
2011
Digital HD video, 3D Anaglyph Red/Cyan 14' 56"
Video Art Manual
Keren Cytter
2011
Digital HD video, colour, sound 14'43"
Video Art Manual
Keren Cytter
2011
Digital HD video, colour, sound 14' 43"
Avalanche
Keren Cytter
2011
4 channel digital video, colour, sound 31' 56"
The Hottest Day of the Year
Keren Cytter
2010
DVD PAL, colour /sound 16:9 12’ 55’’
The Coat
Keren Cytter
2010
Digital video + 35 mm film, colour, sound 5’ 25”
Labyrinth
Keren Cytter
2009
Graphite and pen on paper 150 x 150 cm
Pentagram
Keren Cytter
2009
Graphite and pen on paper 150 x 150 cm
Architectural Copy
Keren Cytter
2009
Graphite and pen on paper 150 x 150 cm

Keren Cytter creates films, video installations, and drawings that represent social realities through experimental modes of storytelling. Characterised by a non-linear, cyclical logic Cytter’s films consist of multiple layers of images; conversation; monologue, and narration systematically composed to undermine linguistic conventions and traditional interpretation schemata. Recalling amateur home movies and video diaries, these montages of impressions, memories, and imaginings are poetic and self-referential in composition. The artist creates intensified scenes drawn from everyday life in which the overwhelmingly artificial nature of the situations portrayed is echoed by the very means of their production.

In 2006 Cytter was awarded the prestigious Bâloise Art Prize at Art Basel for The Victim, a film composed as an infinite loop in which five unnamed protagonists meet over a dinner that culminates in a suicide that repeatedly takes us back to the beginning of the scene. The effect of Cytter’s distinctly analytical approach to filmmaking is the creation of narratives choreographed to expand our understanding of the way in which the strategies and clichés of the media permeate our social reality. In March 2015 Cytter will hold her first large scale survey of work in the USA at MCA Chicago.

Keren Cytter was born in 1977 in Tel Aviv, Israel. Selected solo exhibitions of Cytter’s work include: The Mirror of Simple Souls, SCHLOSS, Oslo (2017); Ocean, Pilar Corrias, London (2016); Panoramas, Mathew Gallery, New York (2016);  Keren Cytter Selection, Künstlerhaus Halle für Kunst & Medien, Graz (2016); Keren Cytter, Museum of Contemporary Art, Chicago (2015), Here and There, Noga Gallery, Tel Aviv (2015), Rose Garden, Indianapolis Museum of Contemporary Art, Indianapolis (2015), Keren Cytter, Kunsthal Charlottenborg, Copenhagen (2014); Video Art Manual, State of Concept, Athens (2014); Keren Cytter, Galerie Nagel Draxler, Cologne (2014); Keren Cytter: HOME, Zach Feuer, New York (2014); Keren Cytter: MOP VENGEANCE, Pilar Corrais, London (2013); Tutorial, Deweer Gallery, Otegem (2013); Show Real Drama, Tate Modern Oil Tanks, London (2012); Avalanche, Stedelijk Museum Amsterdam (2011); Project Series: Keren Cytter, Hammer Museum, Los Angeles (2010); Moderna Museet, Stockholm (2010); X Initiative, New York (2009); CCA Center for Contemporary Art, Kitakyushu (2009); Centro Huarte de Arte Contemporáneo, Huarte (2008); Lüttgenmeijer, Berlin (2008); Stuk Kunstcentrum, Leuven (2007); MUMOK, Vienna (2007). Recent group exhibitions include: In Relation to a Spectator, Kestner Gessellschaft, Hanover (2017); Nothing But Longing, Void Gallery, Derry, Northern Ireland (2017); House of Commons, Portikus, Frankfrut (2016); Political Populism, Kunsthalle Wien (2015), Affects, Kunstpalis, Erlangen (2014); Der Stachel des Skorpions (The Sting of the Scorpion), Museum Villa Stuck, Munich, Institute Mathildenhoehe, Darmstadt (2014); High Performance. The JULIA STOSCHEK COLLECTION as guest at the ZKM. Time-based Media Art since 1996, Zentrum für Kunst und Medientechnologie, Karlsruhe (2014); Where are we Now?, 5th Marrakech Biennale, Marrakech (2014); Annals of the Twenty-Ninth Century, Wysing Arts Centre, Cambridge (2014); Skeptical Thoughts on Love, Künstlerhaus Stuttgart, Stuttgart (2014); Taming the Narrative, Basis, Frankfurt am Main (2013); Liberi Tutti, Fondazione Nicola Trussardi, Teatro Arsenale, Milan (2013); Leisure, Discipline and Punishment, 6th Biennial of Moving Image, Mechelen (2013); Jew York, Zach Feuer, New York (2013); On Apology, CCA Wattis, San Francisco (2012); Whistable Biennale (2012); FAX, Utah Museum of Contemporary Art, Salt Lake City (2012); The Plot, Power Plant, Toronto (2011); Expanded Cinema, Moscow Museum of Modern Art, Moscow (2011); Fare Mondi: 53rd International Art Exhibition, La Biennale di Venezia (2009); The Generational: Younger than Jesus, New Museum, New York (2009); Television Delivers People, The Whitney Museum of American Art, New York (2008); Manifesta 7, Trentino (2008); and Yokohama Triennial, Yokahama (2008).

Cytter is also the author of three novels: The Man Who Climbed Up the Stairs of Life and Found Out They Were Cinema Seats (Lukas and Sternberg, New York – Berlin, 2005); The seven most exciting hours of Mr. Trier’s life in twenty-four chapters (Witte de With and Sternberg, Rotterdam-Berlin, 2008), and The Amazing True Story of Moshe Klinberg – A Media Star (onestar, Paris, 2009).

Keren Cytter lives and works in New York.

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