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Daria Blum’s practice (*1992 Lucerne, CH) moves between performative interventions and tragicomic narratives, unfolding within installative environments in which screens, spotlights, live streams, and self-absorbed, competitive characters—appearing as different iterations of her own persona—share, or rather fight over, the stage. In her work, audiovisual installation stands on equal footing with staged performance, at times even determining it. Established hierarchies—such as those between performance and its documentation, or between the artist and her props—are overturned; Blum redistributes her directive agency among common objects and technological surfaces, which together orchestrate situations in which everyday and artistic performativity is humourously brought into focus.
While the artist’s visual presence—whether in person or in image—is a constant throughout her practice, there is no trace of her face or body in the site-specific intervention realised at marytwo. In HOME…
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Press Release
Daria Blum’s practice (*1992 Lucerne, CH) moves between performative interventions and tragicomic narratives, unfolding within installative environments in which screens, spotlights, live streams, and self-absorbed, competitive characters—appearing as different iterations of her own persona—share, or rather fight over, the stage. In her work, audiovisual installation stands on equal footing with staged performance, at times even determining it. Established hierarchies—such as those between performance and its documentation, or between the artist and her props—are overturned; Blum redistributes her directive agency among common objects and technological surfaces, which together orchestrate situations in which everyday and artistic performativity is humourously brought into focus.
While the artist’s visual presence—whether in person or in image—is a constant throughout her practice, there is no trace of her face or body in the site-specific intervention realised at marytwo. In HOME…






























