Natascha Niederstrass

Artist Profile


Natascha Niederstrass’ work produces the feeling of the uncanny in the viewer by building devices that create dichotomies between what is real or fictional, hovering between the familiar and foreign, the known and unknown. By at once attracting and repelling the viewer, she instills a sense of discomfort that unsettles what seemed clear at first glance.

By constructing different mises en scènes Niederstrass creates an ambiguous narrative that prompts the viewer to guess a story or past event that took place in this specific setting. By engaging viewers in a process of mental reconstruction, she enables them to interact with the created environment. By tracing or reflecting a history of prior actions and motivations, her work places the viewer in the role of the investigator.

As she elaborates a body of works inspired by various news facts testifying of violent acts, Niederstrass questions the idea of sensationalism of crime in mass culture in a desire to reconcile the non-aesthete viewer with contemporary art, often perceived as being hermetic. Hence she tries a different but viable way of criticizing and understanding the image that relies on evidence, trace and residue.

Natascha Niederstrass holds a Bachelor’s degree from Concordia University (BFA) and a Master’s degree in Fine Arts from York University in Toronto (MFA). Her work has been presented in various solo and group exhibitions. Awarded the Plein sud grant in 2005, she also took part in 2009 in Confluence, jointly presented at the Musée régional de Rimouski and Maison de la culture Frontenac, as part of the event De l’île à la mer, curated by Bernard Lamarche In 2010, she participated in the Off Manif d’Art 5 in Quebec entitled Accident. We have presented her work in a first solo exhibition in 2014 and the same year, she shown at Occurence - Espace d’Art et d’essai contemporain. She had an important exhibition at Gallery 101 in Ottawa during the summer of 2015 that she will be presenting again at CIRCA in January 2018.

2017 | Mélina Watters
 Le point aveugle | 9 septembre
2016Border Crossings | James D. Campbell
 Crossovers : Review Natascha Niederstrass | 15 mars
2015Canadian Art | Bernard Lamarche
 Reviews | 3 décembre
2015Magazine Spirale | Alexis Lussier
 Scène perdue d'un crime | 1 janvier
2014esse arts + opinions | Pierre Rannou
 Habilitation au récit | 6 septembre
2014Magenta Magazine | James D. Campbell
 Natascha Niederstrass | 15 août
2014Montréalistement | Normand Babin
 Deux visions féminines | 5 mars
2014Je suis féministe | Valérie Lefebvre-Faucher
 Un filon en art contemporain | 25 février
2014Le Devoir | Nicolas Mavrikakis
 Pleins feux sur la pépinière du Pôle de Gaspé | 11 janvier
2010Les cahiers no.2/10, École des arts visuels | Anne-Marie Bouchard
 Accident | 31 décembre
2010Le Devoir | Jérôme Delgado
 Off, comme dans non officiel : La Manif d'art de Québec a engendré une exposition contestataire, "Accident" | 14 mai
2009Confluences | Bernard Lamarche
 Confluences 2009 : rencontre entre le Bas-Saint-Laurent, la Gaspésie et Montréal | 22 octobre
2008MacDonald Stewart Art Centre | Dawn Owen
 Spectacle + Artifice | 31 janvier
2006Plein Sud | Pierre Rannou
 Conte de la frayeur ordinaire | 25 juin
2006Le Voir | Nicolas Mavrikakis
 À surveiller - Natascha Niederstrass | 12 janvier
2005Le Devoir | Michel Hellman
 Natascha Niederstrass remporte la Bourse Plein sud | 31 mai
2005Le Voir | Nicolas Mavrikakis
 Ma cabane au Canada | 14 avril
2004Le Voir | Nicolas Mavrikakis
 Big deal: Remplir son contrat | 21 avril
2003ETC. | Françoise Belu
 L'art du temps | 1 novembre
2003ESPACE | Serge Fisette
 Une Biennale, Une Triennale... | 1 octobre
2003Vie des Arts | Marine Van Hoof
 Diversité des enjeux | 1 juin
2003Le Devoir | Marie Ève Charron
 Voir grand dans la variété | 11 mai
2003Voir | Nicolas Mavrikakis
 L'art qui fait Boum: en plein Boom | 23 avril