|
|
Artist Statement:
ART IS A PARASITE. ART IS
MISINTERPRETED DATA. ART IS
TERROR: My work gives insights
into different form of
territories, data, dolls and
robotics interacting within
the urban spaces and urban
life. Believing strongly and
deeply in my artwork as a host
for an emancipated audience,
the source of my work is a
voluptuous engagement with
scientific thin-king,
autobiographic momentum and
development of gender
robotics. Replenishing the
feminist strategies of the
past which transformed
dynamically into an ‘equality
of differences’ my interest
prolongs from body data
observations to social
critical interactive urban
data. My installations
approach the spectators with
questions about data
movements, strategies in
social behaviour and future
progress of urban interaction.
ART IS BIOCHEMICAL. ART IS A
PARASITE: The host system is
the human body. Art exists as
a parasite in the mind of the
viewer. My interest in art is
the effect to operate like a
hallucination: to appear and
to disappear like a mirage in
the brain. My investigations
concern’s is to manufacture
‘disappearances’ provoking a
moment of data transfer. I
toggle between inner and outer
worlds. My concern in art is
to escort these forms of
hallucinatory processes, to
set up fresh wounds ...
Further Information
| |
Artist Exhibitions:
2009 WESTMINSTER ARTS OPEN
EXHIBITION, SW1 Gallery,
London, UK
2008 WESTMINSTER ARTS OPEN
EXHIBITION, SW1 Gallery,
London, UK
2006 THE PEACE CAMP hosted by
Bob and Roberta Smith, Brick
Lane Gallery, London
2006 DIGITAL SHOW, Part of the
independent Liverpool Biennal
Festival of Contemporary Art
2006 ART IN MIND 10, ...
Further Information
|
|
Artist Galleries:
Coming Soon!
|
|
Artist Reviews:
SAATCHI ONLINE DAILY MAGAZINE:
18 - 24 Feb 2008
WEEKLY TOP TEN ARTIST chosen
by Ana Finel Honigman
'Germaine Greer might believe
that 'the woman who displays
her own body as her artwork
seems to me to be travelling
in the tracks of an outworn
tradition that spirals
downward and inward ...
Further Information
|
|
Collections:
Coming Soon!
|
|
|
|
|
Britta Jager Biography:
| Biographical information for Britta Jager can be found below. The artist may choose what information to display. Sometimes the artist chooses not to display personal information to the general public. |
|
Age
|
41
|
| |
| Gender |
Female
|
| |
| Status |
Single
|
| |
| Children |
99
|
| |
| Religion |
none |
| |
| Education |
Post Graduate Degree |
| |
| Hobbies / Interests |
fashion, architecture, design, animations, film, videoart, performance, live art, |
| |
| Favorite Artistic Medium |
Installation Indoor
|
| |
| Favorite Arthistory Movement |
Renaissance - (1400 - 1600)
|
| |
| Favorite Visual Artist |
B. Melhus, M.Barney, Ch.Schlingensief
|
| |
| Favorite Work of Art |
mine
|
| |
| Biggest Artistic Inspiration |
Matthew Barney persistence / the political background of Christoph Schlingensief and his statement that the moment the art process collapses it exists in its pure form / Bjoerk naivety / Karim Rashid's cheeky 70th reborn esthetics / Tadao Ando minimalism / the sensitivity of Icelandic interactive musician such as Kitchenmotors etc / the consequence of Steve Reich / the humor of Noel Fielding / Alexander McQueen with his over the top creations / fashion as the second skin, architecture as the third / to leave boundaries of expectation behind / to surprise / to create art terror / being art guerrilla and an art terrorist |
| |
| Why Did You Become An Artist |
Born in Saarlouis, Germany, I was influenced by a documentary of Cocteaus work I decided very early to create crossovers between disciplines as it was portrayed in this video. Cocteau with his almost contractional approach in techniques seemed to make more sense than repetitive working structures. |
| |
| Your Personal Biography |
Leaving with 20 my home village, called Saarwellingen, I moved to Cologne to start my studies in Interior Design. I soon discovered that one of the prestigious university for architecture in Germany was the Technical University Duesseldorf. There, I was studying the laws of gestalt, dimension, materials including design history and was nurtured by theories of architects such as Dr. Meisenheimer and in Netherlands working Mart van Schijndel. These both and all others influenced my work into an experimental approach in interior design, where spacial quality was defined through philospohical reflection on social structures and behavioural studies. Not far reaching from Josef Beuyss' spirit, questions of my early work followed my personal view on globalization, its impact on Germany and the change to a multicultural society. This crossover touching borders of art and sociology, creating interactive interior design and restructuring the view on design, lay the foundation for my current work embracing questions to statistics, environment, data flow and interaction. Architecture was not only the space between the walls, but was the engagement with political issues and questions about society structural order.
In 1999, starting my studies at Kunstakademie Duesseldorf, I was searching discussions about the motives, the development of art. During my stay and the conversations with artist such as A.R.Penck and David Rabinovitch I realised a conflict of concepts in the way the most famous academy had developed. This clash with traditional and dusty views on art been the reason for leaving to the UK and studying at Goldsmiths. Their approach seemed to overlap with my intention, my demands in Art and my thinking of contemporary brain in current art movements. I still identify with the spirit and conceptual thinking of Goldsmith University. Within this period I generated the basic concept of my artwork as it exists now. The high level of discussions gave me a possibility to analyze the structural background of my work and to redefine it as examination in the data flow. Works such as 'Animus-Anima' reflected on body data whilst newer work reflect on data statistic as an urban environmental observation. The work in general has changed from the personal to the political. |
| |
|
contact artist
