Lila-Zoé Krauss (*1994) is a multimedia artist, performer and musician, also known as L Twills. Born in Alice Springs (AUS) the artist grew up in Hamburg, Germany. In her work she develops a transdisciplinary practice, which manifests in long-term research driven projects presented as exhibitions, (theater) performances and musical publications.
Using music, video, performance, writing, textiles, collage, computer art, acting and dance, Krauss arranges theatrical constellations, in which the perception of reality is being questioned. Since she wrote and produced her first multimedia opera [After her Destruction] from 2021 till 2024, the project‘s figures and narrative features form the framework through which Krauss articulates her ongoing research and further Worldbuilding. With regard to the current crisis of subjectivity expressed through mental illnessess, rising poverty and increasing global fascisation, the story of [After her Destruction] aims to examine and decode the relationship between perception, body, media and technology in capitalist societies. In search for possible futures, potential histories and unknown imaginations, Krauss uses fabulation1 to (re)arrange and appropriate normalizing narratives of beauty, desire and madness which are dominated by ideologies of class, gender and race.
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Krauß has performed at numerous venues, including Kampnagel Hamburg, NAVEL LA, Popkultur Festival Berlin, Forum Stadtpark Graz, Documenta15, Secession Vienna, Detect Classic Festival and Volkstheater Wien. Her debut album [Freedom/Fiction] was released in 2020. She developed music for theater productions at Düsseldorfer Schauspielhaus, Schauspiel Hannover, Volkstheater Vienna, Schauspielhaus Vienna and Schauspielhaus Graz.
From 2021-2024 Krauß conceived and produced the multimedia opera project [After her Destruction], which manifested as performances, videos, music and installations; in February 2024, the music of the opera was released as a double album; From May to July 2024, the project was shown at Kunsthaus Hamburg and represented the artist’s first institutional solo exhibition.
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- „As Deleuze remarks [the concept of fabulation] is not the same as a utopia […], which can be thought of as a fiction to defer the production of a new people […], but something that has a more pronounced traction on reality in so far as it is partly involved in the actual invention of a people in the here and now. It does not promise another world (or offer an escape from this one) it is not a technology of transcendence in this sense. Rather, it helps set up further conditions […] for the production of a different mode of being (and thus, again, a different world) from within already existing ones.“ David Burrows/Simon O’Sullivan, #KFictioning. The Myth-Functions of Contemporary Art and Philosophy#K, Edinburgh 2019, S. 18. ↩︎