My experiments question the current relationship between technology and society. This implies different formats of (virtual reality) installations, performances, digital (net) art and video.
By aestheticizing complex phenomena inherent to a technological status quo or development, I generate new approaches to presumably inaccessible areas.
2018- Medienkunst Hauptstudium (media art), klassenlos, HGB (Leipzig, DE)
2016-2018 Medienkunst Grundstudium (media art) with Peggy Buth / Christin Lahr, HGB (Leipzig, DE)
2013-2017 BSc Informatik (computer science), TU (Berlin, DE)
2015 guest in arte multimédia with Sergio Mah and others, FBAUL (Lisbon, PT)
2014/2016 guest at Kunst und Medien (art and media), UdK (Berlin, DE)
selected festival entry for the annual theme "Futur III"
THIS IS FAKE group show
group show coordinated by Peggy Buth
lecture, self-organized session
show with Rüdiger Schöll
class show (Peggy Buth / Christin Lahr)
curated film program
group show curated by Clemens von Wedemeyer / Alba d'Urbano / Peggy Buth
group show + award exhibition, as a non-competing guest
award exhibition - won annual theme BIG DADA
group show, participating as part of THIS IS FAKE + participation in film screening
award exhibition - nominee
solo show as part of THIS IS FAKE
group show with THIS IS FAKE
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 — 1. Akt: Deine Zukunft ruft! Jetzt antworten
Cybernetic installation with banner, 2019
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.
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.«
The technological developments of the early twenty-first century added a new immediacy and impact to this. The gaze itself of course always had been immediate, observable by the parties involved. But it was limited to its physical environment. Audience measurement was rudimentary. Not so in the present day and especially the internet: Knowing who sees what when had grown beyond mass surveillance. Every user of social media gets near to real-time feedback on their performance.
Results vary, but the influence of the public telegaze has been strong enough for large shares of social media users turn to (supposedly) more oblivious and private ways of exposing themselves, such as Snapchat (and the inclusion of their features into other mainstream products). Silverman's words on unconsciously posing for the camera seem to fulfill even more today, taking into account just how often each individual is photographed (or photographing themselves). And on the other side the emergence of terms such as social cooling proves that users now feel, acknowledge and fear that even looking at something is an act with strings attached.
The performance Blickregime (sehen und gesehen werden) bridges the technological and social/physical space into a performance. This format creates an actual experience of gazing and being gazed upon, a fundamental advantage. Only in involuntarily forcing bystanders to take both sides it can be achieved to gain an understanding (and hence empathy) of the ubiquitous process, the social dynamic of the regime of the gaze. The performance initially has no claim to action: merely by existing it attempts to expose the existence of the regime. In echo to Minujín's work the opening was chosen as the ideal moment of observation. The multiple layers of sehen und gesehen werden (see and be seen) unfold: gallery visitors see artworks, gallery visitors see gallery visitors, gallery visitors see the performance, the performer sees gallery visitors and artworks and everybody can see exactly how the performance sees all this, inviting the visitors to extrapolate this visibility to their own gaze and that of their surrounding. A feedback system establishes itself. The gaze is felt, spatially, physically. And as a performer I am the first to notice the arising self-censorship. Moving your eyes loses it's unconscious innocence. The sensation stays, even after leaving the apparatus. You'll never look at anything the same way anymore.
Nominated for HGB Studienpreis 2017
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).
Interactive installation with VR, 2017
With Virtual Reality this can be overcome, since vision is detached from the own body. Does this also detach and dissolve self-perception as known until today? Is this a first step towards trans-humanism?
It isn't. We recognize ourselves with even low-resolution, square-y, hollow representations of ourselves. But we don't associate with the body, can't move naturally, are awkwardly lost in overlapping physical and virtual spaces. The movement of the own body, the movement of others entering the light cube (a physical take on the chaperone usually used in VR to remind users of the physical limits) and the movement of the virtual camera are quite overwhelming.
Kowalski, M.; Naruniec, J.; Daniluk, M.: "LiveScan3D: A Fast and Inexpensive 3D Data Acquisition System for Multiple Kinect v2 Sensors". in 3D Vision (3DV), 2015 International Conference on, Lyon, France, 2015
User-generated crypto performance, 2014, 2016, 2017
Awarded with the Deutscher Multimediapreis mb21 for the 2017 annual theme Big Dada
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.