Self-portrait I, 2018


Natascha Küderli is a German-Swiss artist. She was born on 30 July 1970 in Zurich, the daughter of a German mother and a Swiss father. She lives and works in Munich.

After training as a ceramist, Natascha Küderli studied architecture at the University of Applied Sciences in Erfurt from 1992-96 and at the Berlage Institute (Center for Advanced Studies in Architecture and Urban Design) in Amsterdam from 1997-99. In 2000 she worked for the Creative Arts Department, More than Gold, during the Sydney Olympics and in 2006-10 for the Munich-based architecture firm SEP (Stadt Entwicklung Planung). Since 2010, she has devoted herself exclusively to her art with a focus on photography and film. In doing so, she combines all her previous creative experiences into a unique conceptual approach.

While her ceramics studies still focused on the individual, perfect piece, her architecture studies now focus on the depiction of the whole: subjective snapshots intertwine kaleidoscopically to form an orchestrated Gesamtkunstwerk. Through this unique, artistic perspective on public space, she succeeds in capturing the invisible essence of a city and making it tangible.
With the help of various visual stylistic devices, such as photography, collages and film, she captures different levels of a city. The individual, depicted sequence subordinates itself to the larger whole, but does not lose its voice. The invisible, unique soul of a city is captured and unfolds its rich facets before the viewer.

Natasha at work

"Architecture is the body of a city. And traffic is the blood in the veins and arteries, on the streets and rails. In the studio, Natascha Küderli becomes a doctor, cuts the vessels with a scalpel as in the operating theatre, reconnects nerve endings."

Felix Kessler, "The beauty of the evening rush hour", Der Tagesspiegel, 2017


Natascha Küderli's conceptual approach lies primarily in the perception of human living space in the field of tension between NATURE and URBAN. She is particularly interested in the artificially created space of the city. Küderli transfers to it the idea of being human, consisting of soul, spirit and body: the soul and spirit of a city live in the architecturally grown "city-body". The concept of soul in this triad goes beyond a purely spiritual definition. In her work, the artist reflects the totality of the "I" of a city: the sum of individual experiences that, through overlapping, overlapping and crossing, creates something unique in its entirety. And like a living organism, this "I" is not static, but pulsates, moves and constantly adapts to new circumstances.

In her exploration of the urban body of Berlin, Natascha Küderli developed the desire to transfer this principle from collage to the medium of film. The previously created collages form a kind of storyboard that adds the element of movement to her artistic version. In this way, the film emphasises the fleeting, ephemeral nature of the snapshots used.

Storyboard V 2005 - Concept study for the film "Berlin - Layers of Movement", 2017

"These surreal moments are created in Küderli's collages without digital post-processing or colour correction of the images; colour jumps, seemingly incongruous differences in size and proportions, even unusual blurs are always deliberately incorporated into the visual language."

Andrea Lesjak, collaged, 2019
Barely perceptible movement "munich - soul of a city", 2018


"As a trained ceramist and architect, I have always had an enthusiasm for forms and their changes, structures and materials. to the studies - formations & space
At the same time, I have been dealing with cities, their soul and their spiritual atmosphere for a long time because I wanted to know why certain buildings can trigger emotions in me, such as fascination and joy but also unease or even fear. I am interested in the essence of architecture: what is it that touches us and what makes certain spaces, buildings and cities so unique? But above all, what is the soul? Searching for the definition of the soul in religion, psychology and philosophy, I came to the conclusion that the soul is composed of will, mind and emotion. This led me to the realisation that architecture per se (steel, concrete, brick, wood, ...) does not have a soul, but the person who builds or has built it does. The architect and the client have a soul and this is reflected in the buildings. In the same way, every visitor and observer of a building or a city has a soul and perceives the building and the space in his or her own way, and for me it is the same in art.
In my art I take up themes such as: Movement, structure, levels and layers in nature and in cities. In these layers and between these layers there is movement, in the form of change, deformation and transport. Movement tells, provides, changes, moves, animates, dances. Whether I am dealing with the layers of movement in a city like Berlin or with the soul of a city like Amsterdam, for me both have to do with each other.

The soul of a city is located "in historical levels", the transport of a city in "physical levels". For me, transport does not go into the depths of the soul, but it animates and supplies the whole body of a city. If the transport, comparable to veins and arteries, does not function, a city can die just like a body.

I have a heart for cities, people and nations. If something about a city, a person, a nation or its nature inspires me, I deal with it intensively and then show it in my art.