“… The works of Claudia Kapp deal with moments of a modernism that was initiated as early as the nineteenth century but which by the 1950s and 1960s had begun to exert a sustained influence in those areas serving as a source of identity in the social and urban context. This influence on everyday perception and modes of behavior seems to have been almost completely incorporated by the collective consciousness of the present, meaning that it is hardly seen or reflected upon. The central agents of these works are light, moving image (video), rhythm, music, mirror—sometimes used in cooperative and performative actions. … Since this is all fixed in social contexts and mediated in installations, Claudia Kapp manifestly follows the formulas of minimal and conceptual art, yet playfully alienates and reinterprets them. In so doing, she uses standard materials, making the works seem superficially simple, familiar, and unobtrusive. But as ambivalent as their origin, their grace and mode of action oscillate between a conceptual, emotionally poetic gesture and a vexing assumption of a quotidian relationship. Not least there is a frequent change between proximity and distance, between unfamiliarity and threat, between attraction and aggression. She thus consistently shifts patterns of perception and, with the help of acoustic and visual tranquilizers, succeeds in shaking our feeling of familiarity.  …”

(Gregor Jansen in: Dear International Mary / Claudia Kapp, Ed. Susanne Pfeffer /Künstlerhaus Bremen, Revolver Publishing by VVV)