Up Close With Katja Loher

Wednesday, August 26, 2015

Katja Loher addresses questions from the crowd about her exhibition.

Please join New/Now artist Katja Loher in the Cheney Gallery to take a closer look at her installation How can we cool down the gilded sun beams? No registration needed.


Free with Museum admission


Wednesday, August 26, 2015 1:00 pm to 2:00 pm

Katja Loher

Katja Loher is a versatile young Swiss artist living in New York, who is also presently (until 26th September) exhibiting her new work Collapsocope in the prestigious XII International Architecture Exhibition. Looking at her works, transdisciplinary and intermediate, one can appreciate the utopian visions of early 20th century avant-garde artists, in her attempt to fragment and reassemble a grammar that is at the heart of her work. There is likewise a taste for mixing culture, overlapping media and skills, combining sculpture, video, installations, dance, architecture and alluding to the difficult and increasingly urgent relationship between Art and Science.

Katja Loher conducts a rigorous, almost obsessive, investigation which passes from the projection of videos on spherical surfaces — often suspended — with a reference to the organ of vision, the eye, but also to the form of planets. Videoplanets (the expression is the artist’s) simultanously pinpoints visions of simple and complex organisms, constructed thus that it is able to give us, with amazing proportion, extremely multi-faceted and powerful images about the nature of the world.

With the omniscient eye of the scientific observer, seen from a bird’s eye, Katja Loher plays with many aspects of human identity and the relationship between the individual and the community.

Its multitude of performers, choreographed in essential and serial movements, push the body to the limits of human capability, finding the abstract and geometric forms typical of the molecular vision. The individual melts in the community, resulting in unexpected and powerful evocative images. It is a provocation of the limits between art and science, which finds its strongest common denominator in the mediated and non-figurative vision.