INTRODUCTION

“THE THEATRE, that tears Anna’s pictures up, one can expectant name both: theatre of life and theatre of death. 

It knows only possible stage: the scene of the coincidence of life and death.

Without any curtain, everything occurs before the eyes of the spectator: the game of mortality as that of liveliness.

Finitude and Infinity make pact in scenes of disturbing Evidence (…).

Michel Foucault says he is a “doctor“, a “diagnostician“. His thinking is an operation on the cadaver of the past.

He writes with a scalpel.

Anna does the same as a painter.

She paints with knives and swords.

Like Foucault, she is concerned with the truth of the dead,

with exposing them in the medium of painting.

The relationship between death and painting is articulated.

To paint

means to approach death by beginning to dissect the dead

where it resists being deceased. That is what this painting does:

an analysis of finitude by means of color, light and contour.“

MARCUS STEINWEG

(excerpt from the essay ‘’HIRNSCHLAG“ Berlin, 2019)