Keren Cytter leftovers

13/08/2021 – 11/09/2021

Nagel Draxler Kabinett
Rosa-Luxemburg-Straße 33
10178 Berlin

Öffnungszeiten / Opening hours:
Dienstag - Freitag 11 - 18 Uhr, Samstag 12-17 Uhr
Tuesday - Friday 11am - 6pm, Saturday 12am - 5pm

Beachten Sie, dass Sie die Galerie nur mit einem medizinischen Mund- /Nasenschutz betreten dürfen. / Please note that you may enter the gallery only with a medical mouth/nose protection

Keren Cytter „My Name“, 2020 Colorpencil and marker pen on paper 35.5 × 43 cm

Keren Cytter „leftovers“ Exhibition view Nagel Draxler Kabinett, 2021 Photo: Simon Vogel

Keren Cytter „Blue Window“, 2020 Blue pen on paper 84 × 89.1 cm

Keren Cytter „Andrea’s Room“, 2020 Blue pen on paper 84 × 89.1 cm

Keren Cytter „Slippers“, 2020 Blue pen on paper 35.5 × 43.4 cm

Keren Cytter „Prickly Position 2“, 2020 Blue pen on paper 43.3 × 35.5 cm

Keren Cytter „Prickly Position 1“, 2020 Blue pen on paper 35.5 × 43.3 m

Keren Cytter „Artifact B“, 2020 Colorpencil on paper 35.5 × 43.3 cm

Keren Cytter „Artifact A“, 2020 Colorpencil on paper 35.5 × 35.5 cm

Keren Cytter „Artifact 2“, 2020 Colorpencil on paper 43.3 × 35.5 cm

Keren Cytter „Prickly 2000“, 2020 Colorpencil on paper 43.3 × 35.5 cm

Keren Cytter „Artifact 1“, 2020 Colorpencil on paper 43.3 × 35.5 cm

Keren Cytter „Slipper 1 Slipper 2 Easy go Vivienne Westwood Adidas Moschino Adidas 2010“, 2021 Vitrine with 7 drawings 92.5 × 109 × 104.8 cm (Detail: Slipper 1)

Keren Cytter „Slipper 1 Slipper 2 Easy go Vivienne Westwood Adidas Moschino Adidas 2010“, 2021 Vitrine with 7 drawings 92.5 × 109 × 104.8 cm (Detail: Easy go)

Keren Cytter „Slipper 1 Slipper 2 Easy go Vivienne Westwood Adidas Moschino Adidas 2010“, 2021 Vitrine with 7 drawings 92.5 × 109 × 104.8 cm (Detail: Vivenne Westwood)

Keren Cytter „Slipper 1 Slipper 2 Easy go Vivienne Westwood Adidas Moschino Adidas 2010“, 2021 Vitrine with 7 drawings 92.5 × 109 × 104.8 cm (Detail: Adidas)

Keren Cytter „Slipper 1 Slipper 2 Easy go Vivienne Westwood Adidas Moschino Adidas 2010“, 2021 Vitrine with 7 drawings 92.5 × 109 × 104.8 cm (Detail: Moschino)

Keren Cytter „Mayfly“, 2021 Colorpencil on paper 21.6 × 21.6 cm

Keren Cytter „Mayfly 3“, 2021 Colorpencil on paper 21.7 × 28 cm

Keren Cytter „Mayfly 2“, 2021 Colorpencil on transparent paper 21.7 × 28 cm

Keren Cytter „Mayfly Body“, 2021 Pencil on paper 28 × 21.5 cm

Keren Cytter „Outlet“, 2021 Colorpencil on paper 43 × 35.5 cm

Keren Cytter „Butterfly“, 2021 Colorpencil on paper 21.7 × 27.8 cm

Keren Cytter „Sign Language O-Z“, 2020 Pencil on paper 21.6 × 27.9 cm

Keren Cytter „Sign Language A-N“, 2020 Pencil on paper 21.6 × 27.9 cm

Press Release

Keren Cytter is a powerhouse. Her impressively extensive oeuvre includes video works, performances, writings of all kinds and: Drawing.
Comparable to Martin Kippenberger's hotel drawings in terms of intensity, Cytter's drawings reflect her artistic mode, which can be described as a permanent mode of production.
She often draws her “personal” surroundings, or places that are staged as such.

As if in a standby position on human existence in the mirror cabinet of social and cultural codes, Cytter captures life as a function of a rational, which is completely subordinated to the economic. This blunt realism meets an everyday poetics in her works and thus remains in a strange limbo: do we recognize ourselves in it or do we reject.

As in the Haribo commercials, the protagonists in Cytter's video "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" take on their childhood voices at points. The endless machine of reproduction. We are made by our parents and “millions of copies don’t lie”.

If in the 1990ies a critical artistic movement claimed the personal/ private as political, Cytter’s works sober the perspective by making the viewer sense, that it is not political at all, and that the multitude is a force driven by consumption.

Cytter doesn’t blame, nor does she document. Her narratives follow highly constructed and sharply composed scripts. Her realism does not stage itself as critical, but as disarming and, to speak with Adorno, defenseless and without fear.

We are proud to present Keren Cytter’s 4th solo exhibition with the gallery.