memory. culture. art.
Katja Eydel
www.eydel.de

Katja Eydel first studied philosophy, political science and German language and literature at the University of Cologne. She then went on to study photography in Bielefeld and has remained artistically active since then. She is also a professor at the Merz-Academy in Stuttgart, a position she has held since 2008.
Artistically, her main interests are photography and film. Recurring subject matters in her work include examining the realities of social ideas that have their origins in political change, utopian movements or political systems; and also how politics and political intentions are often realised in aesthetic forms, and become powerful as such.

Selected exhibitions:
Modernologies (Macba, Barcelona);
Model ve Sembol (New Society for the Plastic Arts, Berlin; Kunstverein, Salzburg);
Economics of Time (Akademie der Kuenste Berlin, Museum Ludwig Koeln, Migros Museum Zurich);
Targets Campaign ʼ99 (Platform Berlin)

Publications:
Model ve Sembol: The Invention of Turkey (Sternberg Press Berlin, NY);
Teilt mit (Goldrausch IT Berlin);
Belgrad Interviews with Katja Diefenbach (b_berlin).

Katja Eydel about “Zielscheibenkampagne ʼ99”:
The work “Zielscheibenkampagne ʼ99/Target campaign ʼ99” by Katja Eydel was photographed shortly after the end of the NATO intervention in July and August 1999 in Belgrade, where she and Katja Dieffenbach interviewed various persons from oppositional initiatives. For the exhibition, Katja Eydel combines photos and interview excerpts revealing a shift in ideological signs, an incessant movement of instrumentalizing, re-appropriating and rededicating pop, the meeting-places and discourses of the opposition and the anti-war movement between the manipulators of the NATO intervention and the authoritarian state. Katja Eydel’s photographs focus on the visibility of the socio-political changes and the ideological occupancy, as well as on the code conversion of urban space as an acting and discursive field of oppositional movements. The work demonstrates the shattering of dissident life-styles and forms of discourse through the relationships of force and their construction of moral either/or mobilizations. Parallels to other interventions are evident.
The connection between political values, strategies and their aesthetic manifestations seems clear in order to produce and manipulate meaning, consciousness, memory and by this the idea of historical narration.

Additional photographs and the entire interviews are published in: Katja Diefenbach/Katja Eydel “Belgrad Interviews, Jugoslawien nach dem NATO-Angriff und 15 Jahren nationalistischem Populismus”