A selection
VENTILATING THROUGH
Installation/solo exhibition, Display, Berlin, 2020
The starting point for the installation was a gap in the stairs in the exhibition room. Its dimensions were used to make a module out of plywood that was used in different constellations in the space. The modules here relate to the punctuation mark of a hyphen.
The primary function of the hyphen is to connect two separate words to form a more complex word. In the installation, the line or hyphen has the effect of keeping all the elements together while guaranteeing the integrity of their separate parts. They are positioned opposite each another in the space, they touch one another or rest on other items. They are the things to be supported and the things doing the supporting. The exhibition was accompanied by a sound-based programme that could be heard in the exhibition spaces at the same times every day.
HEARTBREAKER DREAMMAKER
Installation view/solo exhibition, Artists Unlimited Gallery, Bielefeld, 2018
This solo exhibition juxtaposes a live performance in 1980 by the singer Pat Benatar and the image of a lone wolf. The individual object elements sporadically carry the titles of the songs from Benatar’s album “In The Heat Of The Night”. It starts with the video loop Heartbreaker vs. Dreammaker, in which rather than the original track of the performance, its own noise track “The Lone Wolf” is played, accompanied by the text “While waiting”.
I STARED AT DONKEYS SO MUCH, THEY SAID PLEASE STOP (STOP CARRYING)
Installation view/group exhibition HYDRA – GOLDRAUSCH 2019, Haus am Kleistpark, Berlin, 2019
In „I stared at donkeys so much, they said please stop”, the artist talks about her encounter with the tenaciously gently soft V(ictory) of donkey ears. In cultural history the donkey is an animal of contrasts. In its reflex of standing still determined by evolution, however, the artist sees a movement of passive resistance of which she has become fond, an “I’d rather not”. In „stop carrying (tent)” this action finds space in the structure of a tent. It proves to be a temporary home, a bed and a place for trying out tactics of indolence.
CERTAIN CREATURES
Installation view/solo exhibition, Galerie Freihausgasse, Villach, Austria, 2017
Certain Creatures deals with the corporeality and personality of humans and things. At different intervals, the installation setting changed. The performance and music collective BIG HIT took over the premises with their own moves and rest poses: members of the group ate potatoes with the spectators and gave a concert, while the artist read out various texts. For the duration of the exhibition the gallery was inhabited in quite a different way and used by objects and people.
CHEWING (ON/OVER & OUT)
Installation view/group exhibition Filter Bubble, Kunstverein Kärnten, Klagenfurt am Wörthersee, Austria, 2018
Based on research on postapocalyptic films arranged in time order from 2018 to 2050, “chewing (on/over & out)” emerged as a dystopian sketch of the landscape. Individual earplugs dipped in tin go under the title “#1bullet” and play with ideas of who is in a position to speak and who is to be listened to. The installation is supported by a booming sound pattern.
