Katrina Daschner
Katrina Daschner, Vienna, 4 May 2022
“Everything that I do on a stage is right per se”
How does one chop up the famous orgy from Arthur Schnitzer’s Rhapsody into seven different films, performances, spaces, thereafter putting them back together beneath the heading “Hidden in the Lights” as a queer overwrite of the male text? Katrina Daschner “loves to confuse and to turn roles inside-out” (Ewa Szablowska). In her work, masks reveal more than they conceal while the spotlight is an invitation to role-play rather than to self-portrayal. A conversation about motivic strands that, in Daschner’s oeuvre, often give rise to rich textures that are quite finely woven and embroidered in the most literal sense.
For English subtitles please click on the "cc" icon on the control bar.
“Everything that I do on a stage is right per se”
How does one chop up the famous orgy from Arthur Schnitzer’s Rhapsody into seven different films, performances, spaces, thereafter putting them back together beneath the heading “Hidden in the Lights” as a queer overwrite of the male text? Katrina Daschner “loves to confuse and to turn roles inside-out” (Ewa Szablowska). In her work, masks reveal more than they conceal while the spotlight is an invitation to role-play rather than to self-portrayal. A conversation about motivic strands that, in Daschner’s oeuvre, often give rise to rich textures that are quite finely woven and embroidered in the most literal sense.
For English subtitles please click on the "cc" icon on the control bar.