About Katrin Niedermeier's project:
The project idle idol monika is a cross media interplay of animation and painting. A female avatar on a screen, completely undressed – except for high heels – repeats different poses in an isolated virtual environment. This fictive site decontextualizes the animated body, similar to the physical space of Palazzina, which is dominated by a metallic floor and a drawn grid on the walls. Various unmodified sequences of movements — commonly perceived as female — are combined in an endless loop and due to their repetition and stiffness they drift into absurdity. Patterns of movement such as the avatar frequently falling to the floor come to light and reveal regressive stereotypes. Usually used as templates for the gaming industry, these exercise-like sequences make us aware of how dangerous and falsifying virtual representations of the human body can be. Characteristics with a particularly feminine connotation, such as nail polish or make-up, appear exaggerated and question the differentiation between typically female, male or diverse.
A white, three-dimensional „painting“ could serve as a fragment of a more comprehensive, abstract, physical portrait of the virtual character monika in this space. The assemblage of ruffles and flounces appears as an encoded translation of virtual reality and refers throughout the installation to questions of identity, gender and self-determination, whereas at the same time the way we deal with avatars — who could soon become our idols — is being questioned.

About & Co.:
One could say that it all starts with a fairly conventional idea. It can even be said that it must be as unoriginal as possible and may be justified in the following terms:
„I know a woman who walks quite well but limps when you look at her.”
If there is no original work, it is a name and a title that give a social identity to the work that it captions. The question is not what it is, but rather what happens. And perhaps what matter is rather than the representation, its own presentation. Only few will have the opportunity to see the exhibition Katrin Niedermeier & Co. Yet it is very much happening, even more as it is taking place through the mediation apparatus on which it depends. It is therefore pointless to try to circumscribe it to a given time and place. Ultimately, it is a game with rules which must be infiltrated.
& Co. are the characters who can only be distinguished by the masks they wear, and who apply themselves to expressing their awareness of being observed. This is perhaps what led them to desert the frames of the narrative and reverse roles with a whistle. So, it may also be the only way to wonder why is Palazzina on the floor.