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(DE) Berlin

group show curated by Peggy Buth, Ralf F. Hartmann, Friederike Kröbel, Jens-Ole Rey

'19 Dec 30
Von einem der auszog eine Wohnung in Berlin zu finden. Ein Automatisierungsdrama in drei Akten
(DE) Leipzig

lecture — day 4, hall Clarke, 13:30

'19 Jul 13
(DE) Gelsenkirchen

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

'19 May 21-22
(US) New York City

parallelly shown in Lisbon (PT)

'19 Apr 25 -     May 12
(DE) Leipzig
Unstable Settings @ Halle 14 - Untergeschoss

THIS IS FAKE group show

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


'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

The Princess realizes that she must move to Berlin when she visits the exhibition "Vulnerable Subjects" in Leipzig. Fortunately, while looking for an apartment, she meets Kasperle, who introduces her to the Wohnungsbot. But even though the Wohnungsbot has already relieved countless people of the symptoms of rent mania, this mission plunges the Wohnungsbot into a crisis of existence, which not only makes him doubt prevailing narratives of automation.

The stage adaptation of the software "Wohnungsbot" (download at negotiates the possibilities and consequences of the attempt to solve social problems with technical means.

spoken by
Monika Freinberger (Kasperle, Prinzessin, Krokodil)
Marlene [AWS Polly] (Wohnungsbot)

Copy editing
Christopher Heyder

Ortrun Bargholz
Exhibition view

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
Was du willst (de: “What you want”) takes visitors through a highly orchestrated system of experiences. It all starts by registering with your personal data so that the system can start to call you and guide you through the process and ends with a print receipt of your alleged personally, as deducted from the data the system gathered about you.

The central question of “What do you really want?”, as posed by the system itself ahead of an initial stimuli reduction is interpreted at multiple levels:
First, if immersion is a desirable state, is it to be achieved by flooding every single sense we have as to leave no room for distraction (as VR supposedly does) or through the mental capacity of entering a state of “flow” or even meditation by reducing external stimuli.
Second, the notion of (digital) recommendation systems which claim to “know” what we want through technological means of data-observation combined with statistical tools, resulting in a questionable “understanding”.
Third, the existence and creation of (adaptive) digital environments which cater our psychology ever better and have reached a point — such as in games automatically adapting difficulty — where for many individuals they represent a more wantable life than our society can offer.

Languages (audio): English, German (individual choice)
Installation view
<emphasis><lang xml:lang="de-DE">Was du willst</lang></emphasis> asks the number <emphasis><say-as interpret-as="digits">%s</say-as></emphasis> to approach part 1, station <say-as interpret-as="character">%s</say-as>.<break /> 
Number <emphasis><say-as interpret-as="digits">%s</say-as></emphasis> please.

This is the last call by <emphasis><lang xml:lang="de-DE">Was du willst</lang></emphasis> for number <emphasis><say-as interpret-as="digits">%s</say-as></emphasis> <break /> Please immediately proceed to part 1, station <say-as interpret-as="character">%s</say-as>.<break /> Last call for <emphasis><say-as interpret-as="digits">%s</say-as></emphasis>
Please take the virtual reality headset and the headphones from the position marked with the letter <break time="0.1s" /> <say-as interpret-as="character">%s</say-as>.<break/>
It's easier if you put on the headset first and then the headphones. Please make yourself comfortable on one of the bean-bags.

Welcome to part 1 of <emphasis><lang xml:lang="de-DE">Was du willst</lang></emphasis><break time="1s" /> I am happy to have you here.<break /> Please lay down on one of the bean-bags and make yourself comfortable. In the next 5 to 10 minutes I want to expose you to a stimuli reduction. I would kindly ask you not to take off the headset or the headphones until I ask you to do so.<break time="2s" /> I am sure many things have already happened to you on this day. Therefore I would like to invite you to calm down for a moment and ask yourself: <emphasis>What do you really want?</emphasis>
Hello %s,<break /> Part 2 is waiting for you. There will be everything you want.<break /> Please take off the headphones and the headset now and put them back to the position marked with the letter <break time="0.1s" /> <say-as interpret-as="character">%s</say-as>.<break/> Don't forget to scan your barcode at the next computer before putting on the other headset.
We're about to start. Take your time to adjust the headset so that it sits comfortably and make sure the earpieces sit tight.

Hello {username}
Welcome to your 3 <phoneme alphabet="ipa" ph="diːː">D</phoneme> world.
Here everything just evolves around you, {username}.
I see you like {0}? No problem. I'm glad actually. I have a lot of that for you.
Glad you like it here. You can stay as long as you wish.
I'm also a big fan of {0}. We're a good match, {username}!
You don't like {0}? I'm sorry for that. But I'll find something else for you, don't worry. Out there I have hundreds of objects just waiting to amaze you.
Look, here comes {0}. It's also {1} - you do like that {username}, don't you?
This is something that would suit you: {0}
You can't get enough {username}. But don't worry, it will go on forever.
A world full of {0} just for {username}. That would be quite something, no?
Do you also ask yourself, why there are so many weapons here? Weird, isn't it? Somehow humans seem to like that.
{username}!<amazon:breath duration="long" volume="x-loud"/>Please return to the center!
You don't need to move, everything you want will come to you.
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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To me, artworks are experiments. Expressed aesthetically rather than as a scientific paper.

My experiments question the current relationship between technology and society. This implies different formats of video, performance, net art and (virtual reality) installations.
By aestheticizing complex phenomena inherent to a technological status quo or development, I generate new approaches to presumably inaccessible areas.
2014, 2016 guest at Kunst und Medien (art and media), UdK (Berlin, DE)
2015 guest in arte multimédia with Sergio Mah and others, FBAUL (Lisbon, PT)
since 2016 Medienkunst (media art) with Peggy Buth / Christin Lahr, HGB (Leipzig, DE)
2017 BSc Informatik (computer science), TU (Berlin, DE)
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'18 APR 20 —    MAY 9
(DE) Gera
Overton Window @ Haeselburg
class show (Peggy Buth / Christin Lahr)
'18 FEB 15—18
(DE) Leipzig
Filmprogramm Rundgang 2018 @ HGB
film program curated by Beatrice Schuett / Lars Preisser / Paula Abalos / Stefania Smolkina
'17 DEC 13 — '18 JAN 20
(DE) Leipzig
group show curated by Clemens von Wedemeyer / Alba d'Urbano / Peggy Buth
'17 DEC 2 — '18 JAN 21
(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 1
(DE) Berlin
group show, participating as part of THIS IS FAKE
'17 NOV 9 —    DEC 2
(DE) Leipzig
award exhibition - nominee
'17 NOV 4—5
(DE) Berlin
solo show as part of THIS IS FAKE
'17 FEB 9—12
(DE) Leipzig
Rundgang 2017 @ HGB
group project, as part of media art class of 2016
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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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