Female Voices in Art: Anne Daffertshofer, Contemporary Art Researcher & Curator, PhD candidate, University of St Andrews

Anne Daffertshofer (b. 1995, Neuss, Germany) is a contemporary art researcher, writer and curator based in Fife. Before obtaining her postgraduate degree in Modern and Contemporary Art History at ECA in 2020, she studied Art & Visual History at Humboldt University in Berlin. Anne has previously worked for contemporary artists and commercial galleries, and more recently taught undergraduate tutorials. Currently, she is the Art Curator at the St Andrews Botanic Garden and is completing her doctoral thesis at the University of St Andrews. Her research explores the meanings of movement in times of ecological crisis in and through contemporary art by working with the term 'Anthropocene Mobilities'. Anne is interested in ecocritical ways of writing art history and holistic approaches to art and life. She has presented her work at national and international conferences. Inspired by her research, Anne founded and directed Looking North, a series of events with artists, writers and ecological conservation projects in Scotland and beyond. 

Could you tell us something about your role in the art world?

I am a contemporary art researcher, writer and curator based in Fife. At the moment, I am also preparing to submit my doctoral thesis at the University of St Andrews, and just started a new position as art curator at the St Andrews Botanic Garden. Occasionally, I also work with artists and galleries on a freelance basis.

What did you enjoy about being a part of this project?

The photo you see was taken during the Scottish Society for Art History Study Day in Edinburgh. It was a pleasure to be asked to take part in the project and I liked the spontaneity of it. And of course I felt very honoured to be included alongside such wonderful and impressive women.

Do you have a favourite artist?

I don't think I could choose a favourite artist, but I do have a soft spot for painting. A few months ago in Venice I came across the work of Salman Toor and Marlene Gilson, which I found very powerful. In Scotland, two of my favourite artists would be Hanna Tuulikki and Siobhan McLaughlin - Siobhan's abstract landscape paintings often use earth pigments collected from the place she is painting. I love this direct connection between the painting and the place. I am also very interested in the work of Lawrence Abu-Hamdan and, more generally, artists working with Forensic Architecture. But I should stop here; there are too many artists doing wonderful work - I could go on forever.

What is your earliest memory involving art?

One of my earliest memories of art would be my grandmother's impressive collection of art history books. And family holidays in Italy - my uncle would drag us from church to church, and I loved it. But the reason I wanted to study art history was the 'Fresh Window' exhibition at K20 in 2012. Our teacher took us there and I remember being fascinated by Duchamp's Fresh Widow.

Do you have any special thoughts about the position of women in the art world?

I've been working in the art world since March 2017. In that time, I have been lucky enough to meet some of the most passionate, knowledgeable and incredibly competent people - including many women. Of course, it's still the case that many senior positions are held by our male colleagues, but I feel that more equality is on the horizon. I particularly enjoy hearing stories from or about women in the art world who have been working in the sector for many decades and who have managed to avoid replicating many of the more toxic dynamics that most of us will be familiar with. I always find that very inspiring and encouraging, even if it is not easy to come across. Sometimes I feel that some people see exploitation and toxic hierarchies as some sort of initiation process that you have to endure in order to move up - I am aware that it can be difficult to avoid recreating the situations that you have had to go through, but I hope that my peers and I will contribute to more positive structures and systems as we move forward. I hope that in the future everyone in the art world will do their best to create welcoming spaces that are accessible to all backgrounds.

What are you wearing, and is there a story behind it?

Although this picture was taken in early spring, you can see that I am wearing quite warm clothes - but such is life in Scotland. On this day, I opted for a simple turtleneck to keep me cosy, and my winter coat from MaxMara. It's my best vintage find so far, and one of my favourite things to wear in the colder months.

What are you currently working on?

I am currently finalising our summer programme at the St Andrews Botanic Garden. We will be hosting an international artist for a month and have some really exciting events planned. I am also in the process of finishing the introduction to my PhD, which is both gratifying and unnerving.

Could you mention a project, an institution that, or a person who has been important or inspiring for your career and why?

There are so many. I always feel very lucky to be working in the art world, a sector filled with immensely talented, inspired and passionate people. I would certainly mention Prof Nesselrath, who taught me during my undergraduate studies. His passion for art and immense knowledge definitely shaped my desire to pursue this path. But just as importantly, he has a unique talent for creating an atmosphere in the classroom that allows friendships to blossom - and it is because of him that I met some of my closest friends and confidants in the art world. I also felt very inspired by the FKA Six project space in Berlin, which was run by my friends Marlene A. Schenk, Pola van den Hövel and Laura Helena Wurth. It was one of the reasons I decided to start my own project, Looking North, two years ago. And this, I am now told, inspired friends of mine to start their own events - the most beautiful domino effect!