Annual Exhibition of the Dresden Academy of Fine Arts 

Where does painting begin, and where does it end?
What happens when the painter herself becomes the painting?
Does the canvas stay within its comfort zone, or does it move, with the artist becoming the canvas?
These questions are explored in the performance '95x145,' where the physical limits of both the canvas and the painter are analyzed.
The interplay of limbs and bars results in geometric shapes, attempting an aesthetic measurement within the context of the canvas and its relationship to the frame.
In motion and stillness, the body itself conveys form and color.
A playful duel between both components, oscillating between dominance and control, strength and power.

Intervention at Vernissage "MOLLY MOLEDET" by Cornelia Renz
Produzentengallery Dresden

"In the performance 'MEGALOPOLIS,' the significance and shaping of identity through historical-cultural influences and psychosocial factors are examined. This process is illustrated through the performative framework of a visit to the exhibition 'Molly Moledet' by artist Cornelia Renz, led by performer Karolin Kutteri. This visit simultaneously serves as a quest, a journey, or a path to an unknown destination. The performer carries items that she deems essential and symbolic under her 'second skin,' emphasizing its role as a shell, protection, and packaging of human existence. During this visit, the performer observes the exhibited artworks and takes breaks at selected pieces, responding to each artwork with an object that was previously concealed beneath her 'skin' and is now revealed.

Additionally, at each artwork visited, an official identification document is methodically left behind as a trace. Some objects are left as remnants accompanying the artworks. In front of the artwork 'Heimathunger,' the performer arranges a cozy picnic with a Bavarian pretzel and Israeli date spread, complete with a cushion and a cherished photograph. In a nostalgic moment, just before departing, the 'box of symbolic items' is searched, and the body is adorned with a sentimental heirloom. The container of the heirloom is left behind.

Subsequently, at the artwork 'Sweet Home,' the performer retrieves an old die from the box and plays an abstracted version of the game 'Juden raus' - an anti-Semitic board game marketed by the toy manufacturer 'Günther und Co.' during the Nazi dictatorship from 1936 to 1938. With the exclamation 'Auf nach Palästina!' (Off to Palestine!), the performer rushes to the next artwork, leaving the die behind.

At the artwork 'Yes, we ...' and the red line drawn by the performer, the handling of internal and external boundaries is emphasized. How close may one approach an artwork, and how close does one allow an artwork to approach oneself? The performer peruses and reads from the abandoned book ('Figurative Design - A Guide for Teachers and Learners' by Gottfried Bammes) within the 'Akademie Renz' series of works.

Finally, the performer takes a sniff of the flower in the 'Blaue Blume' installation and decides to place the 'box of symbolic items' beneath the artwork."

(Text: John Hinnerk Pahl) 

2018, 2019, to be continued...
Ludwig-Windhorst House, Osnabrück

Part I
A representative of the 'Mobile Movement Association' unexpectedly appears at family and company gatherings, introducing their newly established organization focused on the physical integration of mobile phones. Her aesthetic presence combines whimsy and simple extravagance within an extraterrestrial context. Her mere presence instills discomfort and nervousness in the audience.With poise and distance, the unknown representative first presents an introductory video, followed by a mobile group game involving cell phones. Finally, she demonstrates the research—the transformation of both human and mobile phone. As a cyborg, the representative interacts, with control shifting constantly between both components, highlighting the difficulty of finding compromise between their power positions.In the end, the representative swiftly disappears, leaving the audience restless and bewildered. The paradoxical relationship between the mobile phone and the consumer is portrayed and pushed to the absurd.Part II
The representative of the Mobile Movement Association visits the diploma opening ceremony at the Dresden Academy of Fine Arts. She appears as a cyborg and presents the research findings of her institute directly. The performer moves freely through the spaces, corridors, and courtyard as if she were a visitor to the vernissage. She encourages interaction and participation from the viewers through conversations and by offering a unique selfie as a keepsake of the happening. Viewers can access a special website via a QR code on her nametag, containing explanations of the performance and the taken selfies.To establish decisive contact with the audience, a brightly lit and animated mobile phone display, resembling glasses on the performer's nose and in front of her eyes, provokes attention. The display features a slideshow comprising statistics on mobile phone usage, bizarre interviews with mobile phone critics, the diversity of the app world, personally created emojis, as well as a digital representation of facial expressions and gestures. The mobile phone, as a data carrier, takes on the additional role of the 'data presenter.' A miniature Las Vegas unfolds on the screen, attracting the gaze and curiosity of the 'pre-participants.'In the ensuing conversations between actor and audience, the performer assumes two roles to create and maintain a constant feedback loop. One role is that of the cyborg, with a digital, un-rhythmic voice, initially explaining content like a dictionary entry without emotion or feeling. As the conversation progresses, the cyborg adds ironic comments to the recitation of dictionary entries, establishing a connection to the vernissage. These remarks allude to an underlying psychosocial dimension, which currently plays a significant role in cyborg research.When the viewer feels comfortable in the situation, the performer suddenly switches roles to that of a regular vernissage visitor, speaking in a typical local dialect and addressing the audience about personally carried items or clothing. This initiates a mundane, everyday conversation. The performer continuously switches between roles, creating constant attention, flexibility, and curiosity among the audience, leading to active interaction and participation.

fe*male Intervention exhibition
Dresden Academy of Fine Arts

Who doesn't know it? Sexist clichés, splendidly and arrogantly presented within the dusty and widespread hierarchy of everyday conversations for women*. They arise, among other things, due to societal influences and refer to tendencies from obsolete, patriarchal days.

Examples include waiting, being ignored, and being assigned a lower place in the conversation hierarchy, all of which are considered normal. These behaviors are tolerated, accepted, and swallowed, making them socially acceptable and passed down in an endless cycle to the next generations.

In my performance 'PIGLET PINK,' I address this sociological boomerang in the form of a choreographic translation with physical gestures.


State Office for Road Construction and Traffic, Dresden

The performance 'Detour' was conceptualized and executed exclusively for the vernissage 'Roadshow' of students from the Dresden Academy of Fine Arts at the State Office for Road Construction and Traffic.As part of a scavenger hunt, the performance spanned the entire area of the State Office. Hidden, remote corners, favorite spots, and small patches of green were transformed into experiential waypoints, gaining new attention and appreciation. At each station, a small snack was provided, inviting participants to pause and enjoy the surroundings.The final destination was an office in the main building, referred to as the 'Reward Center,' which was adorned with various works related to detours. The room's contents included a video compilation of interviews conducted on the theme of detours, featuring a cross-section of people of different ages, genders, residences, and backgrounds. Another installed element in the room was an interactive map of Dresden, where participants marked their favorite routes and described them with three attributes.To refuel, there were two different snacks composed of ingredients the performer had randomly discovered during her own detours and creatively assembled for the performance.