© Nathalie Djurberg/VG BILD-KUNST, Bonn
Sammlung Goetz BASE 103

Nathalie Djurberg

“It’s a stop motion technique, meaning you have an object, you take a picture of it and then you move it a tiny bit, take another picture, etc… Then you transfer it to your computer and violà you have a film. It is very important to me that the idea comes first and the technique drags behind.” (Nathalie Djurberg)

When it comes to creating her claymation animated films, Nathalie Djurberg is a one-woman film crew: director and camerawoman, technical engineer, costume designer, figure creator and set designer all in one. Each and every image, shaped from papier-mâché and plasticine is all her own work, filmed in non-stop motion with a mini-DVD camera, frame by frame. Often, the traces of production, such as the threads supporting the puppets, or her own hands, are clearly visible, lending the films an almost naïve look that sets them apart from the glib perfection of major Disney studio productions. This is also evident in the often disturbing and provocative themes she addresses: eroticism, sexuality, violence, love, power and powerlessness, masochism and sadism, through to vulnerability, nostalgia and shelter. Hungry Hungry Hippoes (2007) shows three semi-naked female figures dressed in highly eroticised body-clinging garments, whose obesity really does conjure images of hippos. They are toying with a slender, black African boy in a way that oscillates uncomfortably between attraction and abuse. Djurberg’s works play deliberately on the fantasies of the viewer. She transforms the seeming innocence of the animated film – widely associated with a young audience – into a complex, erotically charged and psychologically visceral form of the adult imagination. The viewer becomes a voyeur of outrageous fantasies that hover between fascination and disgust, between taboo and overstepping a line.

Djurberg’s colleague Hans Berg composes the intense electronic soundtrack that drives and dramatizes the films.

Djurberg’s colleague Hans Berg composes the intense electronic soundtrack that drives and dramatizes the films.


© Felix Gonzalez-Torres

Felix Gonzalez-Torres, "Untitled", 1992

An exhibition project by the Sammlung Goetz in public space

The black-and-white photograph "Untitled" (1992) by Felix Gonzalez-Torres, in which a figure’s ghostly shadow is captured on a billowing curtain, is part of the artist’s billboard series. The concept behind the work is that the owner produces the image as a public poster. Regardless of how often it is printed, it is always unique. In the context of Munich’s Various Others project, the Sammlung Goetz is presenting "Untitled" (1992) on five billboards in around the city and in front of its own exhibition building in Munich.


[Translate to English:]

Cyrill Lachauer. I am not sea, I am not land

Sammlung Goetz in Haus der Kunst

Cyrill Lachauer (*1979 in Rosenheim, lives and works in Berlin and Los Angeles) develops his extensive projects on long journeys, and delves deeply into the local cultures of the places he visits. For the exhibition by the Sammlung Goetz in the former air-raid shelter of Haus der Kunst, Lachauer has created a new multi-part installation, which includes films, videos, photographs and texts.

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