Keren Cytters’s extensive body of work includes video, performances, books and drawing. Many of Cytter’s works deal with everyday life and her personal environment, or in places that are staged as such. It focuses on the issues of social alienation, language representation and the functioning of individuals in predetermined cultural systems.
In her works, Cytter conducts deconstruction; she disassembles, separates, splits, cuts and connects. Adjacent papers are connected into single unit and create an array of images (objects, portraits, nature and landscape) embedded in an enigmatic and compressed space, echoing layers of observation, memories and associations. Realism meets the poetic, and the imaginary meets the everyday, accompanied by textual allusions.
The sense of the fragmented narrative intensifies when the gaze moves through the space between the single drawings on the walls and the drawings spread out on the tables, consisting pieces that does not connect completely. What emerges is a mindset, an associative mental process that rejects any attempt at a cohesive connection.
Cytter’s films consist of multiple layers of images – conversation, monologue and narration that are systematically assembled, aim to undermine linguistic conventions and schemes of traditional interpretation. The film shown at the exhibition, “Bad Words or When you wake up and realize that you are late to your job interview with your best friend‘s ex and you are not a lesbian but the product of a patriarchal society that‘s conditioned you to see women as sex objects” (2021), deals with the new ‘normal’, dominated by social media and the Internet. The present situation is characterized by a constant presence on the networks which leads to the collapse of boundaries between the private and the public.