Britta Jager

Britta Jager describes herself as an art terrorist. Each of her work inherited dimensions of art terror. Main purpose of her concepts are the invasion of thinking and recreation of another view. Short called: art guerrilla. Every form of attacking our intellect is approved and states her signature. All her installation create a parasitical moment: the essence disolves into the brain-cells. The artworks is the transmitter, the catalyst and the engine to invade private space. Britta, data guerrilla girl, follows mental intrusion and based her work on urban voyeurism, waits for the tabula rasa and reprograms the mind set. She characterized herself as a Goldsmithy, post-Christoph Schlingensief and the hermaphrodite between Mariko Mori and Beuys. ARTIST STATEMENT: ART IS A PARASITE. ART IS MISINTERPRETED DATA. ART IS TERROR: Britta's work gives insights into different form of territories, data, dolls and robotics in interaction within the urban spaces. Believing strongly and deeply in her artwork as a host for an emancipated audience, the source of the concept is a voluptuous engagement with scientific thinking, autobiographic momentum and gender robotics development. Replenishing the feminist strategies of the past which transformed dynamically into an ‘equality of differences’ her interest prolongs from body data observations to analysis of urban data interaction. Her installations approach the spectators with questions about data movements, strategies in social behaviour and future progress of urban space. ART IS BIOCHEMICAL. ART IS A PARASITE: The host system is the human body. Art exists as a parasite in the mind of the viewer. Her interest in art is to operate like a hallucination: to appear and to disappear like a mirage in the brain. Her investigations concern’s is the manufacturing of ‘disappearances’ initializing a data transfer. As artist she toggles between inner and outer worlds. Her concern in art is to escort these forms of hallucinatory processes, to set up fresh wounds where a new form of madness emerges. ART IS TERROR: In a manifesto Britta insists that the artwork should terrorize the spectator brain and works as intruder. Main focus remains on confusion of the brain parts. ART IS MISINTERPRETED DATA: The freedom of art is to function as a platform on which it accumulates versions of perceptions which differ.