Yvonne Am See: 2021

Executed in November 2021, this piece marks a stylistic anomaly. Unlike her usually placid lakes, Die Letzte Welle is aggressive. It incorporates actual wood splinters from a storm that hit the lake in July 2021. The piece is a furious conversation between the artist and the climate. It sold for CHF 45,000 at auction—triple her previous year’s average.

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If you missed the 2021 run, make sure to keep an eye out for future dates. "Yvonne am See" is the perfect summer evening plan. It’s sophisticated enough for theater lovers, but funny and accessible enough for anyone looking for a good time. yvonne am see 2021

Tips for future attendees:

Critical response to Am See’s 2021 work was remarkably unified in identifying a turning point. In Artforum, Jameson Li wrote: “The artist who once painted alienation now practices something rarer: the art of staying with the broken thing.” The Singapore Straits Times noted that Am See had “finally found her subject—not the digital, but the domestic; not the network, but the knot.” Executed in November 2021, this piece marks a

Two themes anchored this reception. First, the domestic as archive. Am See transformed the home—her mother’s desk, the kitchen table, a bedroom closet—into sites of epistemological struggle. Unlike conceptual artists who used domesticity to critique gender roles (important though that is), Am See treated household objects as data storage devices: recipe cards as databases, photo albums as RAID arrays. Second, error as authenticity. In a period when digital art often chased seamless rendering, Am See celebrated fragmentation. Scratches, missing pixels, unreadable files—these became visual signatures of truth.

Principal photography took place from May to July 2021, entirely on location around Lake Lucerne. The pandemic restrictions meant a reduced crew, daily testing, and a tight 26-day shooting schedule. However, the limitations became artistic assets. The sparse crew allowed for intimate, naturalistic performances. The lack of tourists on the lake (international travel was still restricted) gave the film an eerie, timeless quality—as if Yvonne had stepped into a ghost of her own past. The piece is a furious conversation between the

Cinematographer Judith Kaufmann (Frantz) used handheld cameras and available light to blur the line between documentary realism and memory. The lake itself becomes a character: calm and indifferent, reflecting Yvonne’s inner stillness while hinting at deep currents below.