Keren Cytter creates films, performances, drawings, and photographs on topics of social alienation, language representation, and the function of individuals in predetermined cultural systems through experimental modes of storytelling and human perception. Mostly characterized by a non-linear, cyclical logic, Cytter’s films consist of multiple layers of images, conversation, monologue, and narration systematically composed to undermine linguistic conventions and traditional interpretation schemata. Recalling amateur home movies and video diaries, these montages of impressions, memories, and imaginings are poetic and self-referential in composition. Cytter creates intensified scenes drawn from everyday life in which the overwhelmingly artificial nature of the situations portrayed is echoed by the very means of their production of storytelling and human perception. Selected solo exhibitions include: Ludwig Forum Aachen (2022) Kunstmuseum Winterthur (2020), Center for Contemporary Art, Tel Aviv, and  Museion Bolzano (both in 2019) Künstlerhaus - Halle für Kunst & Medien, Graz (2016) Museum of Contemporary Art Chicago (2015), the Kunsthal Charlottenborg and Copenhagen State of Concept Athens (both in 2014), Tate Modern Oil Tanks, London (2012), Stedelijk Museum Amsterdam and München Kunstverein (both in 2011), Kunsthaus Baselland, Moderna Museet, Stockholm, Hammer Museum, Los Angeles (all in 2010). Cytter was awarded the Guggenheim Fellowship in 2021. Cytter has also initiated several interdisciplinary art festivals such as The Last Summer Fest in Goethe-Institut Curatorial Residencies Ludlow 38, New York (2015) and many more, and is also the author of five novels. In 2008, Cytter also formed a dance company called D.I.E NOW (Dance International Europe NOW), consisting of 5 non-professional dancers, performing in different institutions across Europe and the US, such as the Tate Modern's Turbine Hall in London, The Kitchen in New York, Tramway in Glasgow, and Hebbel am Ufer in Berlin.