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'19 Jul 13
(DE) Gelsenkirchen

Creative _ Places end of residency group show, part of Szeniale festival

'19 Jun 14-16
Von einem der auszog eine Wohnung in Berlin zu finden. Ein Automatisierungsdrama in drei Akten — 2. Akt: Das Versprechen des Bots
(DE) Berlin
48 Stunden Neukölln 2019 @ Weisestraße 58

selected festival entry for the annual theme "Futur III"

'19 Apr 25 -     May 12
Was du willst (Teil 1 - 3)
(DE) Leipzig
Unstable Settings @ Halle 14 - Untergeschoss

THIS IS FAKE group show

'19 Apr 04
(UK) Cambridge
Ethics in Mathematics (EiM2) @ Cambridge University


'19 Apr 03 -     May 05
Von einem der auszog eine Wohnung in Berlin zu finden. Ein Automatisierungsdrama in drei Akten — 1. Akt: Deine Zukunft ruft! Jetzt antworten
(DE) Leipzig
Verletzbare Subjekte @ HGB Galerie

group show coordinated by Peggy Buth

'18 Dec 30
(DE) Leipzig

lecture, self-organized session

'18 Sep 01-30
(CH) Sarnen

show with Rüdiger Schöll

'18 Jul 03-21
(DE) Leipzig

solo show, pre-diploma

'18 Apr 20 -     May 09
(DE) Gera
Overton Window @ Haeselburg

class show (Peggy Buth / Christin Lahr)

'18 Feb 15-18
(DE) Leipzig
Filmprogramm Rundgang 2018 @ HGB

curated film program

'17 Dec 13 - '18 Jan 20
(DE) Leipzig
ID — Cultural Memory in the Present @ HGB Galerie

group show curated by Clemens von Wedemeyer / Alba d'Urbano / Peggy Buth

'17 Dec 02 - '18 Jan 18
(HU) Budapest

group show + award exhibition, as a non-competing guest

'17 Nov 11-12
(DE) Dresden

award exhibition - won annual theme BIG DADA

'17 Nov 10 -     Dec 01
(DE) Berlin

group show, participating as part of THIS IS FAKE + participation in film screening

'17 Nov 09 -     Dec 02
(DE) Leipzig
Studienpreis 2017 @ HGB Galerie

award exhibition - nominee

'17 Nov 04-05
(DE) Berlin

solo show as part of THIS IS FAKE

'17 Feb 09-12
(DE) Leipzig
Rundgang 2017 @ HGB

group project, as part of media art class of 2016

Von einem der Auszog eine Wohnung in Berlin zu finden. Ein Automatisierungsdrama in drei Akten — 2. Akt: Das Versprechen des Bots

Installation views from 48 Stunden Neukölln 2019.
More information and download of the "Wohnungsbot" at

Documentation in progress

Total view
View of the storefront-exhibition during early evening
Screens on which the Wohnungsbot is running
Kunststopper (art-catcher) in front of the exhibition

Von einem der auszog eine Wohnung in Berlin zu finden. Ein Automatisierungsdrama in drei Akten — 1. Akt: Deine Zukunft ruft! Jetzt antworten

Cybernetic installation with banner, 2019
This the first work in the cycle Von einem der auszog eine Wohnung in Berlin zu finden. Ein Automatisierungsdrama in drei Akten (Of someone who went out to find a flat in Berlin. An automation-drama in three acts) was created for the exhibition Verletzbare Subjekte (Vulnerable subjects) at HGB Leipzig.
Installation view at HGB Galerie / Lichthof, Leipzig
Installation view, close-up
The banner heavily draws on Mladen Stilinović's "An artist who cannot speak English is no artist"1 (1992); translated to the current housing tensionsin Germany, especially Leipzig and Berlin. The slogan on one hand plays the myth on that artists are causing gentrification and are therefore to blame2, while using an odd combination of corporate3 and pseudo-subversive (which really is the new corporate) design language to actually reach the people in the art school.

1 1992, see it among other works in WORDS-SLOGANS on his website
2 For an excellent discussion of this issue (and many other housing/gentrification topics, partially specific to Berlin) listen to Andrej Holm in Alternativlos, Folge 40 [de].
3 campaign by dan pearlman Group, implemented following the official guidelines.
The second part, less visible at the first glance, is a box hiding a computer, speaker, and a printer. Visible to the outside is only a small slid in the front from which, at irregular intervals apartment listings printed on postcards appear and glide down into the schools patio.

It is driven by a script scouring "a popular apartment listing website", generating the postcards in realtime within seconds of the listing going online. A sound notification is played, urging you to take action.
Now! Time to become a succesful artist!
A printer in a box printing an apartment listing (GIF)
Apartment listing postcards on the floor in front of the gallery
Directional speakers allow local hearing of a single interview while inviting to wander through the tangle of sound
I've asked 35 very diverse people the following three questions:

Why do you write code?

How does it affect you, that you write code?

How does it affect others, that you write code?

The installation tries to find a way to make their answers accessible, as well as questioning itself and the meaning/relevance of the questions.
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The floor is spacially labeled to allow navigating through the directional audio tangle.
It is also one of many measures to show that there was an opinionated curatorial process determing which fragments have been selected or how they were grouped.

Labels on the floor below the directional speakers
Front: A list of questions on infinite paper / Back: the research office as part of the installation

A very long (although not infinite) list of questions I've posed myself during the process of preparing, conducting, and editing the interviews, as well as the installation itself - printed on continous form paper.


Ist die Frage "Warum schreibst du Code?" zu oberflächlich?

Sind die Fragen zu generisch um Menschen in einen wirklichen Reflexionsprozess zu lenken? Also sind am Ende vielleicht die Art und Formulierung mehr für die (mangelnden) Antworten verantwortlich als die (mangelnde) Reflektion der Antwortenden?

Wie beinflusst es die Interviewees in ihren Antworten je nach dem ob sie mich eher als Informatik-Student oder als Kunst-Student wahrnehmen?

Wie stark beeinflusst der persönliche Vertrautheitsgrad die Antworten?

Wie viel geht durch die Verwendung des convenience samples an möglichen Antworten / Bandbreite / Aussagen verloren?


Hyperscreenshot of the audio editing program

The installation tries to deconstruct it's own methodology as far as possible. By showing how the material was organized, labeled, and what terminology was employed the viewers are empowered to question whether they agree with the structure and what its limitations are.

Further this allows observing clusters and tendencies of which topics are talked about most and in what combination without reverting to a classical quantitative analysis.
As far as available, transcripts of the interviews were available to be read and studied. They present an unfiltered, uncurated, alternative (original) naration - which is more "authentic" but also very protractedand and thus harder to digest.
Full interview transcripts were available for viewers to engage further and do their own research
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Performance, 2017

In this perfomance I put myself in the exhibition space for the opening wearing a custom-built eye tracker which showed in real-time where my gaze was directed, observable on screens attached to my augmented body.
During the opening speech by the president Thomas Locher, view from behind [credit: Micha Dykta]
»Wichtig ist auch, daß die Mimikry nicht unbedingt eine aufbegehrende oder auch nur bewußte Intentionalität voraussetzt. Im Gegenteil, sie kann Zeichen für eine völlig unbewußte Anpassung an die Bilder sein, über die das Subjekt üblicherweise von der Kamera bzw. dem Blickregime wahrgenommen wird.
Die Pose muß viel allgemeiner als fotografische Prägung des Körpers verstanden werden, derer sich das Subjekt nicht unbedingt bewußt ist: Sie kann das Resultat eines Bildes sein, das so oft auf den Körper projiziert worden ist, daß das Subjekt beginnt, sich sowohl psychisch wie auch körperlich mit ihm zu identifizieren. Dieses Bild ist im übrigen durchaus nicht immer schmeichelhaft oder lustvoll besetzt.«
— Silverman, Kaja, Dem Blickregime begegnen, in: Kravagna (Hg.), Privileg Blick. Kritik der visuellen Kultur, Berlin 1997, p. 50
Minujín's "MINUCODEs" (1968)
Minujín's "MINUCODEs" (1968)

Installation view at HGB Galerie
Generative Online Photography, 2017
Nominated for HGB Studienpreis 2017

When viewing the website, the viewer is prompted to choose a moment. It is stored on the device and is retained indefinitely. All future actions start from this moment, it "belongs" to the viewer.

At this very moment, one of the servers performing this work retrieves images from 24 randomly selected webcams. The webcams are located in the 24 time zones of the earth, one per time zone. The database contains between 60 and 100 active webcams.

The results are presented as a triptych (responsively, so on small devices they are stacked vertically). For each image, 3 to 7 layers are superimposed. The actual composition changes with every call of the page and can be forced with the "reload" button.

Thus, every moment that is fixed in its temporal dimension encompasses an immeasurably large number of combinations of its visual archiving. Several forms of time are negotiated: local (time zones, refresh and transfer rates), technical (webcam aesthetics) and historical (the moment in general — but especially internet — development, where it is [still] possible to access a large number of single-frame based webcams worldwide).
The work is presented as a URL plot applied to the wall
View from outside into the exhibition hall
Short documentary video (1:37, no audio)
Participants experiment games within the installation

Same view, but as seen in VR
A fascinated participant of Project David
Who has ever used PGP to encrypt an e-mail? PGP was the only real end-to-end encryption mechanism available (untilt the emergence of the Signal protocol, such as also used by WhatsApp) in 2013 when Snowden made his revelations. And since PGP was and is so rarely used: isn't it more dangerous to use it, since it raises the surveillors’ attention? Project David fills this gap by engaging viewers in a playful, dadaist, yet superficial manner to generate more encrypted communication. In a fake terminal an excerpt of the Snowden leaks is presented, which no one ever really read either. The participant is reduced to play with speed and color of the predetermined output. The text is then encrypted and sent to one's personal e-mail address over the Tor network, another privacy tool. This generates encrypted traffic and spreads the colorful artwork, an undecipherable block of numbers and letters. Still this is Big Dada: no art installation will ever build a cover for vulnerable real-world users. It's a mere symbolic act against the seemingly overpowering Goliath of surveillance agencies.
Installation view at New Budapest Gallery (HU)
2016 demo video (2:37, no audio)
Exhibition view at New Budapest Gallery (HU)
with Maria Francisca de Abreu-Afonso
Near-Fi short film, 2017
13:06, color (HD), stereo sound (PT/DE)
Written and shot in Portugal and Germany in 2015 / 2016 with a broken Nikon P5100 and a regular D7100

A young German's video camera breaks. He sees it as a sign of the disintegrating media scene and lost of trust in the news. After the right wing gains power in the 2017 elections, he flees to Portugal but remains unsure whether this was an adequate reaction. As he looks back, he asks himself if anything happened at all.
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