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“ [Angie Hiesl] exposes what is often concealed and in doing so the personal can be seen to be political.[…] Together [Angie Hiesl and Roland Kaiser] are able to transform the quotidian into the extraordinary, open up public space to new possibilities and to really encourage an audience to connect with their surroundings and question what they see.”
        Rachel Rogers, Dance Theatre Journal, 2010

“As if turned inside out, the protective walls of a residential building are transmogrified into a stage, and the casual, unspectacular actions which we guess are going on in private behind the walls are presented as a play. At several sites in the city these tableaux mouvants confront beholders with the oft-suppressed fear of growing old and force them to reconsider the way they see the world and its daily rituals. […]For as in traditional theatre, which lives on the communication between actors and audience, these action installations put the limelight on the viewers, too: for a brief space of time they turn into performers in the interplay of seeing and being seen. In a provocatively graphic manner, Hiesl lays bare for both sides ways in which art and everyday life are “staged”.”
        Andrea Lesjak, Goethe-Institut, November 2003

«  [Angie Hiesl] traite ainsi l’espace comme s’il s’agissait s’un matériau, un « objet trouvé », qu’elle juxtapose à sa dramaturgie. […] Le montage comme principe «formel permet d’installer l’atmosphère surréaliste d’un rêve. […] Le cops humain devient le matériau de l’installation, mais devient également sujet lors de la performance, chaque individu étant libre de s’exprimer comme il l’entend. […] Ce qui est normalement caché devient public. On touche presque à une forme de stratégie propagandiste, c’est sans doute ce qui crée une telle tension au sein de l’œuvre. »
        Enno Stahl, Esse arts + opinions, automne 2002

“While Christo, the Bulgarian pop artist, wraps buildings in white, Hiesl, from Cologne, aims to intrigue onlookers by displaying people in pursuit of “ordinary life in an extraordinary way””
        Hugh Davies, The Daily Telegraph, 3^d August, 2002

« Apparitions saisissantes qui mettent des sourires sur les visages des passants. »
        Florence Michel, La Liberté, 12 Juillet  2001

"The border between art and reality of the spectator melts away. Hiesl chooses public spaces as the battlefield between the familiar and the bizarre.”
        Imre Karacs, The Borneo Post, 26^th  November, 1995