Dana Sederowsky works with video performance, photography and extensive handwritten texts covering large wall areas.
The artist explores various dimensions of the human condition, often with a tinge of the absurd. Focusing on human psychology, the use of language, and the apparent meaninglessness of life, she employs repetition and repeated motifs as her means of expression and method. Attempts and inevitable failures are central ideas in her work, and are also necessary preconditions for development. She explores language not simply as a mode of communication but also as a poetic and formal device. Sederowsky’s art is always meticulously planned and controlled by a conceptual system of regulations. She carries out her tasks solely on her own, autonomously active both in front of and behind the camera as well as performing the text writings. Her repetitive praxis and studies of time constantly realizes itself in new variations at the same time that the “original model” is deconstructed. She acts as a symbol for humanity and, thus, she plays a role. To that one must add the demand for flexibility that working alone entails, in which tasks follow each other and are mixed together. Creating art becomes, in her case, equivalent to undergoing a metamorphosis.
Dana Sederowsky was born in 1975 in Helsingborg. She received a BFA in photography from the Högskolan för Fotografi in 1999 and an MFA from the University of Gothenburg, Valand Academy of Arts, in 2006. She has exhibited nationally in solo exhibitions, for example at the Dunkers kulturhus in Helsingborg, Hasselblad Center in Gothenburg, the Fotografiska Stockholm, and Göteborgs Konsthall, as well as internationally in numerous group exhibitions, including at the Centre for Contemporary Art in Ekaterinburg and Moscow, and at the L.A. International Art Biennal, Los Angeles. In 2004 Sederowsky received a stipend from the Hasselblad Foundation to Villa San Michele on Capri, Italy.
Accepting a position in a threemonth Artist in Residency Programme in Berlin, I went to Germany with the
intention of producing a new body of work. At the beginning of my stay, I thought a lot about what this opportunity meant to me. Was it a blessing or a curse? To answer my question I decided to
create an endurance project, site specific as well as a time limited. I wanted to focus on language and did this through lengthy writing exercises that I produced directly onto the studio wall, adopting the language of my temporary home town.The walls used were those of an old classroom in a school building that remained undamaged througoput World War II. The buidling is now the home of the non-profit art organisation GlogauAIR and its studios.
Every week I wrote the same words over and over on the wall, "durch, für, gegen, ohne, um", the German accusative prepositions often practised through chants in language classes. The project also consists of a monologue based video work focusing on linguistic exercises shot with the wall as a backdrop.
Through this vanitas project I have aimed to raise questions about grief, discipline, the role of the artist, endurance, monotony, perserverance, dedication, loss and isolation. After three months the wall was painted over.