Cordula Ditz adopts principles of Appropriation Art. Each of her exhibitions is built up as a complete artistic system, a distinctive composition, made of loops, words, images and sounds. Furthermore, their juxtaposition, as an apparently constructed parody, is based on a precise and clear demonstration of structures.Her installations include found footage video works, paintings, and industrial materials, such as neon. The paintings, with their striking appearance and repetitive formal qualities, complete the system of art history references. Together with colored light and merging sound fragments, her work creates a complex display of images, words and sounds, unmistakably competing for attention. 

The film material originates from horror movies of the 70s and 80s, a genre Ditz is focused on, precisely researching and studying the uncanny. Within the course of repetition, that the artist arranges, the horror loses its impact and the principal of a serial pattern shifts into the foreground. The demonstratively hard cuts simultaneously reveal the constructedness of the selected film material and the artistic appropriation itself as an analytical procedure. Lost in the void of an endless loop, the actresses begin to stylize themselves into a pose and their actions into choreographies of ineffective gestures. The removal of narrative content leads to an illustration of the structural system. In this way, decontextualised elements of the horror-film genre, which is based on conventional symbols and image categories, can be viewed in isolation from their linear cohesion. Also, this makes the images being discharged from their original content. Now, free for a new implementation, a work like the one of Bas Jan Ader ( I'm Too Sad to Tell You, 1970) finds its new frame inside a foreign source.