Ana Hoffner is engaged in an art practice that excavates moments of crisis and conflict in history and politics. Hoffner’s performances, video and photo installations seek to introduce queer temporalities, relations and spaces in-between established perspectives and memories of iconic images and highly performative events. Hoffner employs means of appropriation such as restaging photographs, interviews and reports and desynchronization of body and voice, sound and image.
Transferred memories, embodied documents focuses on the confrontation with images of atrocities and those who face them. The video starts with a complex description of the video report on camp Omarska, which grabbed an image from the video footage and made it into an “iconic photograph” from the Bosnian war. In the video, a queer relation develops between two performers dealing together with the images of atrocities.