On timescapes
The article conveys and discusses selected art projects in the perspective of a practice of composting in relation to “timespace-matter”; to do do this, it refers to the collaboration with the trans-disciplinary collective Kompostistische Internationale, expressly inscribed in the concluding artwork Dissolution Table. Items of interest are the “subject”/“object” relation and strategies of “inter-subjectivity”; the interaction with toxic/sensitive materials (of the past/present/future); the practice of re-membering and a possible negation of the institution of the archive.
A contribution to Matter: Journal of New Materialist Research, 7 (2023): Situating research on art, technological practices and literature, published by the University of Barcelona.
Calling the Anthropologic Cabinet
ABYSSE – eight pages of image-text-collage contribute to a reader referring to the 1936 painting by Salvador Dalí, called Le cabinet anthropomorphique, and edited by Samuel Ferstel / Grains in 2002
Archive Dissolution Table / Dissolution Table Archive
An exercise of speaking, acting and thinking together with the other, in which the indivisibility of materialities and the non-/availability of human subjects remains experienceable
in: Rheinische Sektion der Kompostistischen Internationale (Hrsg.), Queerfeministische Kompostierungen des Anthropozäns – Ökologien, RaumZeiten, VerAntworten, Springer VS, 2022
Simulacron updated: the (im)possible vision of likeness
There is an outside world behind the windows. He has a body, and so does Eva, his savior
in: Tincuta Heinzel & Ioana Macrea-Toma (ed.), UTOPIAN CITIES PROGRAMMED SOCIETIES Volume II, Loughborough University, 2021
Deep Interview
performing questioning on shaping and monitoring of borders
in: Renata Summo-O‘Connell (ed.), decolonize! art, curatorial and critical practices in contemporary times, Artegiro Publishing, 2018
What is that »formally« constitutes a subject
about Blind Spots and Body Tables
in: Wenzel/Blohm (ed.), Half Life – Machines/Organisms – Artistic Positions in the Context of Climate Change and Extinction, fabrico verlag, 2018
Collage (es es)
es gibt keinen Grund für den Zufall (in der bildenden Kunst)
in: Stallschus/Ternes (Hrsg.), Bild, Kunst, Medien – Resonanzen auf das Denken von Hans Ulrich Reck, Herbert von Halem Verlag, 2018
Paesemuseo: about locality as a specific platform and an abstract object of investigation
in: Embedded Aesthetics: Artist-in-Residencies as Sites of Discursive Struggle and Social Innovation, Seismopolite Journal of Arts and Politics, Issue 19, 2017
Some Notes On Dislocated Prospecting
The methodological perspective of an art practice not only assuming dislocations to be observable, but designing them as part of a »constructivist« research process
in: Migrating Art Academies, Displace, Berlin/Vilnius, 2015
__verlust(u)topia
Progression, Natur, Neigung, Sprung – es gibt keine Zufälle, dafür aber die Kunst
in: offtopic #5: verlieren, Zeitschrift für Mediale Künste, Verlag der KHM, Köln 2014
Diskrete Algorithmen
Die Geste des sichtbar Machens: mögliche Objekte (zum Sehen) anhand von Motivationen (des Erkennens) und Techniken der Emergenz
in: Eva Holling, Matthias Naumann, Frank Schlöffel (Hrsg.), Nebulosa – Zeitschrift für Sichtbarkeit und Sozialität 01/2012, Neofelis Verlag Berlin
Deep Interview (on Vogelsang)
Why, in your view, has a need for intervention emerged »at this place«?
in: Julia Scher, Susanna Schoenberg (Hg.), Vogelsang Intervention 2009 – Generation, Verlag der KHM, Köln 2011
Questionnaire #1
Questionnaire for Participants and Eye-Witnesss of Vogelsang Intervention 2009
in: Julia Scher, Susanna Schoenberg (Hg.), Vogelsang Intervention 2009 – Generation, Verlag der KHM, Köln 2011