KATHARINA D. MARTIN

The title of this work refers to the German expression 'Roßkur' which is understood as a medical treatment with the help of drastic and controversial methods. In Grimm's Dictionary, the 'Roßkur' was a daring cure with egregious procedures. In her video, Martin is wearing a latex costume, wooden shoes, and attached to her head, she has a horse's tail, which partially covers her face. She shakes her head and brings the horse's tail to swing. Her repeated steps make a loud sound which resembles hooves. In this looped video, is not just been played with the identification of a female, objectified as a horse, Martin clearly refers to the fact of the repetition in life. By repeating her act, Martin tries to integrate her performed image into a symbolic order. The video is shown in addition to the costume itself. The shoes, the latex skirt and jacket, and the attachment with the horse's tail are displayed. A video will always be virtual but by showing the performance dressings as objects, Martin enables the spectator to relate to the video in a non-virtual way.



	Roßkur - video loop 13 min - 2011

		Roßkur - headpiece - 1 of 3 costume parts - 2011

	The title of this work refers to the German expression 'Roßkur' which is understood as a medical treatment with the help of drastic and controversial methods. In Grimm's Dictionary, the 'Roßkur' was a daring cure with egregious procedures. In her video, Martin is wearing a latex costume, wooden shoes, and attached to her head, she has a horse's tail, which partially covers her face. She shakes her head and brings the horse's tail to swing. Her repeated steps make a loud sound which resembles hooves. In this looped video, is not just been played with the identification of a female, objectified as a horse, Martin clearly refers to the fact of the repetition in life. By repeating her act, Martin tries to integrate her performed image into a symbolic order. The video is shown in addition to the costume itself. The shoes, the latex skirt and jacket, and the attachment with the horse's tail are displayed. A video will always be virtual but by showing the performance dressings as objects, Martin enables the spectator to relate to the video in a non-virtual way.