In the Press

“A steirischer herbst for the history books.”
Kronen Zeitung

“Since Degot took over the annual steirischer herbst in 2017, the Graz festival has become a point of reference for how art can interact with a city and its politics.”
ArtReview

“While its title is clearly tongue-in-cheek, Paranoia TV brilliantly acknowledges today’s context with truthful intent and a pinch of derision.”
Frieze

“The 53rd steirischer herbst, curated by Ekaterina Degot, provides the most poetic answers to the currently virulent question of how to bring art to the public.”
Monopol

“Ekaterina Degot recognized early on that a physical festival would hardly be possible due to the pandemic. She shifted the activities to the digital space—and did so with a certain radicalism.”
Kurier

“Most of the contributions to this year's edition [...] are a mandate to the digital public. At the same time, they set a new standard for circulation that we would like to see from all cultural institutions: no underwhelming social media feeds, please, but a real engagement with form and content.”
Arts of the Working Class

“En cette année à part, le festival ne propose pas de passe, tout est gratuit, et alors qu'il s'adresse habituellement à un public local éclairé, consommateur de culture, il n'a jamais été aussi inclusif.”
Le Monde

“steirischer herbst took a bold and proactive approach to the coronavirus crisis.”
Kleine Zeitung

“Among the endless curatorial deadwood there are curators who stand out, because they make a stand: they stand for certain principles. Ekaterina Degot, currently Director and Chief Curator of the festival steirischer herbst in Graz, Austria is one of these.”
Russian Art Focus

“With a history of more than half a century, [steirischer herbst] is experiencing one of its most exciting periods in recent years under the artistic direction of Ekaterina Degot, who curates a program of performances and exhibitions in direct dialogue with the pressing socio-political issues of the day.
Athinorama

“It takes a lot of courage—on an artistic, intellectual and organizational level—to design such a large festival program under the current circumstances.”
HART

“Ekaterina Degot [has] decided against the streaming solutions that are usually accompanied by meagre results—in other words, against filmed performances, as they dominated the reception in the spring. Today, six months later, the ideas are more ambitious.”
Der Standard

“Having clicked and scrolled our way through numerous online viewing rooms and exhibition platforms this year, it’s notable how few formats succeed in holding our attention. One exception, however, was this year’s edition of the Austrian art festival Steirischer Herbst, which reinvented itself as media consortium Paranoia TV.”
Frieze