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


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