My work is about production and circulation of social imaginaries, i.e. ways and institutions in which we imagine ourselves and what we do to sustain (or escape) these.

It often involves questioning production of spectatorship: Systems and structures of presentation and circulation of both images as well as the bodies these images address, depict or exclude.

I ask questions of address, desire and language in relation to contexts such as architecture, public space, speech, view, landscape, cinema, abstraction and power.

For more information, see http://archive.katyasander.net/

Follow me on @katyasander


Darkness & Light - Contemporary Nordic Photography

@ American-Scandinavian Foundation, New York. 

Feb. 22nd - April 26th, 2014

I’m showing TIFO - a photo-essay on fanism, mass-media and collective imaginings. Here some samples from the 56 images.

– I interact not only as an abstract unit, a consumer who can be measured, counted, registered and pre-calculated via algorithms, but also – quite simply – as a body. I touch and I take shape.

Things made of plastic or The end



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First set of plastic-objects installed. Some objects after casting back into plastic. Some objects after casting back into plastic. Re-modeling the objects people had chosen to bring. Clay-objects, not yet cast.


A new project, begun for Lademoen Kunstdialoger in Trondheim 21th september - 13th October 2013.

Plastic-objects from supermarkets were re-made by people by hand, in clay; thus passing through the body of the consumer, but in a different way. From the clay-models I made moulds and cast the hand-made versions back into their original material: Hard plastic.

The project is aiming at consumer-objects in circulation in a very concrete way. Staring at them. One at a time. Touching them with my hands. Outside of their function; just like that. I guess I’m hoping to find something else, or at least another angle. Not sure yet, still working on it.

An entire supermarket like this, only without the buying and selling, only the touching: People can take things on the shelves, hold them, turn them, feel them, and perhaps recognize some and not others. A supermarket of touch?

Things in supermarkets are already shaped to look like they fit the hand, but also as if they have never been touched before. – Until I take it down from its shelf, of course.

I am the end consumer. I am the one who this thing is destined to land with. I am its final scenario. After me, it becomes trash. Or rather: Through me, it becomes trash. But I am not only an abstract unit, a consumer who can be measured, counted, registered and pre-calculated via algorithms. I am also – quite simply – a body. I touch and I take shape.

The body of the end consumer. Us, who consume the end.

And then, there are the shapes of these things. They are well known in abstraction (and actually not so far way from certain abstract sculptures), but quite strange to study close-up. Like a language of shapes; a language we were brought up with; a kind of mother-tongue. But a language we never speak.

Hence, the title so far: “Caliban”, from Shakespeare’s The Tempest. Here, Caliban – the once-prince of an island with no name and no language, is turned into slave by the islands conqueror and new ruler, Prospero (”he who knows how to profit”). Caliban has no language and is seen as a wild man, a beast. Prospero teaches him how to speak and turns him into a civilized man, or at least tries. Throughout the play, Caliban constantly uses his newly learned language to invent new swearwords. ”You taught me language; and my profit on’t 
Is, I know how to curse. The red plague rid you for learning me your language!”

See also a text on what lead me to the project: http://trondheimkunsthall.com/news/Things-made-of-plastic-or-The-end

Detail, Detail, Detail,

THE 100 MOST WATCHED (1998) - Wallpainting for Sørlandets Kunstmuseum, for the show “The Beginning is Always Today. Contemporary Feminist Art” September 21st 2013- January 19th 2014

The text on the wall:

"In the future, she, a paraplegic war veteran, is brought to another planet, which is inhabited by a humanoid race with their own language and culture. She gathers intel for the cooperating military unit while simultaneously attempting to infiltrate the native 

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First tests for new project on supermarkets and the way we are shaped by what we touch @ Kunstdialoger, Trondheim.

See also: http://trondheimkunsthall.com/news/Things-made-of-plastic-or-The-end

The Human Snapshot. Thomas Keenan, Tirdad Zolgadr (Eds.). Sternberg Press, LUMA Foundation & the Center for Curatorial Studies at Bard College. 

With contributions by Ariella Azoulay, Bassam El Baroni, Roger M. Buergel, George Didi-Huberman, Michel Feher, Hal Foster, Anselm Franke, Dominique Gonzalez-Foerster, Sandi Hilal and Alessandro Petti, Maja Hoffmann, Denis Hollier, Thomas Keenan, Alex Klein, Suhail Malik, Marion von Osten, Katya Sander, Hito Steyerl, Eyal Weizman, Tirdad Zolghadr.

Distributed by MOTTO

A number of recent exhibitions and artist projects have utilized the architecture of the television studio. How does this tendency relate to TV’s shifting significance as a cultural form?

Studio Spaces

by Maeve Connolly


Issue 155 May 2013

One Minute Film Festival 2003 - 2012

@ Mass MoCA

Organised and hosted  for all those years by Jason Simon and Moyra Davey

March 23rd - September

SE ALSO the great catalogue/book, including special DVD published by Mass MoCA

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