5 manipulated airtubes, that rise and fall in regular intervals.

Their external appearance is adapted to the surface of burches.
With this obvious fake trees and their steady and unnatural up and down movement, we want to point out the worldwide intervention of humans in a natural cycle, which opposes with their own economically motivation.
Trees are cut down, reforestation follows, then they are cut down again, then they are again reforested, then they are cut down again, etc.
With this installation we would like to question this cycle and ask whether the forest manipulated by humans is still an attractive functioning habitat and what consequences result from it in the long term.

Bitum on chipboard

Bitumen

We were invited by “Obenstadt” to take part in an investigation Residency at Goethe Institute to research on rooftops as urban space.
This is part one of the results.

water, flagpole, spray nozzles, water pump

The flag, a symbol which is understood like hardly any other sign in all countries of the world.
In its capacity, it marks an affiliation, indicates privileges and rights of a group of people or nationality. At the installation dissolve a flag is replaced by volatile water spray and is installed on a flagpole.
Since antiquity at the latest, “the flag” - the respective tribal or field emblem, ruler’s symbol, religious insignia, and national symbol - has through its visible and tangible presence in ceremonial and often warlike gatherings, evoked loyalty to one’s own community and the goals and ideas set for it.
The predominantly emotionally based acceptance of the symbolic message was reinforced by the nimbus bestowed on most flags by their religious legitimization on the part of the respective priesthood.
Thus, the flag itself acquired the character of the sacred. Especially in the Catholic countries of Europe, the custom of consecrating the flag has survived into modern times.
Similar to specific colors or ornamental symbolism on flags (red for socialism/communism, crescent moons for Islamic states, crosses for Christian, the rainbow for diversity and tolerance, etc), the flag created from water spray can be interpreted for life itself.
Without the existence of water, life on earth would not be possible.
At the same time, the spraying represents an ephemeral existence, both on the direct level:
All life inevitably begins and ends, matter decomposes and becomes one with its environment, just as water diffuses into the air.
But also in a figurative sense:
Empires, states and organizations pass away, thus their flags become relics and the material from which they were created decays itself with the time.
Furthermore it can also be interpreted as a symbol of the fragility of our existence in times of increasing ecological threats.
Water has always been a scarce commodity in many regions of the world, wars are fought over who has or gets access to this resource, Companies buy springs and regulate or withdraw access, states build dams or divert water, etc.
Thus, on the one hand, the water flag is volatile in several ways: water flies through the air and dissolves into it; it represents the volatility of the institutions represented by flags.
On the other hand, through its form, it questions and counteracts the attributions, levels of meaning, and handling of “classical” flags; its fluidity contradicts the symbolic meaning they have acquired throughout history:
It cannot be touched, hoisted, or folded.

1000 cutley knives, fishing lines, oversea container frame

swarm is a windsculpture and was created as part of an artist residency in Siglufjördur, Iceland. It is made of 1000 knives, attached to fishing lines in a container shaped frame. The knives are moved around their own axis by the wind, shimmering like a herring swarm.
The Installation was set up in front of the „Herring Era Museum“ and invites people to think about the worldwide problem of overfishing the oceans.
The first windscupture could not withstand the harsh winter in Iceland, therefore a new Version made of a real containership and stainless steel knives was built 2020 in Hamburg Germany.
It was exhibited several time at the port of Hamburg and was shipped 2022 to Iceland, and is now a permanent Installation on the same spot, at the Herings Era Museum.

32 programmed and dimmable fluorescent tubes

Untitled (2013) is an installative dynamic translation of a 5-minute dance choreography by Veronique Langlott, which deals with the discrepancy between the concepts of “to believe” and “to know“.
It was first exhibited in 2013 at “Galerie Speckhaus, Hamburg Germany.
In 2021, it was part of the show ” Poetry of Translation Kunsthaus Meran, Italy.

10 trapazoidal shelters made of coloured timber.

Throbber was one of the winning designs of the competition: “winterstations” in Toronto, 2020.
It was shown in public spaces in spring/summer2021.
The Installation responds to the theme: ”refuge”with 10 walkable trapazoidal shelters that pointing out the similarities of people who seek for refuge for many different reasons but all have one thing in common: They wait. We translated the buffering icon from the digital world into reality.

Installation at “Kunstverein Harburger Bahnhof” // 2020

“The respective room”, is a kinetic installation in a
Showcase harburg train station. It is part of the exhibition: highway=footway;layer 1, at the “Kunstverein Harburger station”,
which deals with perception and the Interpretation
of outdoor and public space. Who and what forces, define and change spaces and how dependent they are on each other?
4 rotary motors, power supplies and 1 rubber band.

2 Installations • focuses on the topic of urban growth and -expansion • prospects 4.8. in A5 museum in Chengdu, China, 2019.

2 Installations that focuses on the topic of urban growth and -expansion.
In addition, a debate on issues such as: fake, power claims, the role of tradition in a digitized world,and the impact on nature in terms of a seemless endless growing cities, what is fake, what is real, is stimulated.
As part of the exhibition “prospects 4.8.” in A5 museum in Chengdu, China, 2019.

It shows two displays at the end of a black tunnel-like room. At the upper and lower end of both installations, mirrors are attached, that create an „infinity mirror-effect.
When viewed from a distance, the audience sees a kind of precious cloth, that may reminds people of precious Shu embroidery through its beautiful surface, but it proves to be a cheap forgery of the ancient traditional hand-craft after careful observation.
Side A:
Shu embroidery symobolizes one of the most prosperous periods in China. Originally, colorful traditional patterns such as plum and hibiscus flowers, were supposed to bring good luck and happiness. We changed this pattern with 4 Chengdu’s interchanges with the appereance of navigation apps.
We deliberately chose an industrialized production to dissect the subject more in depth. The material shall guide audience to pay more attention on the implementation of “counterfeiting” of traditional handcrafts and lead the audience to question the extent of which the traditions and mature structures still play a role in ” Industry 4.0“.
Side B:
Second display of 2 Installations that focuses on the topic of urban growth and -expansion.
In addition, a debate on issues such as: fake, power claims, the role of tradition in a digitized world,and the impact on nature in terms of a seemless endless growing cities, what is fake, what is real, is stimulated.
It shows a display at the end of a black tunnel-like room, that is covered with green artificial turf in form of a rectangle, with a circle of natural grass in its center
The supposed natural circle, which is enclosed by the artificial turf, withers slowly. Finally, when one considers that the lawn itself is no longer a purely natural, wild-growing element, but is actually a product developed by humans, the extent may becomes clearer.

The question is stimulated if there is any space left, where nature is not influenced by humans?

Oil on canvas II, waste oil, 6 waterpumps, canvas, 160cm x 120cmnot exhibited yet //
Oil on Canvas I was part of the solo show “pure simulation” at Galerie Bridget Stern in Hamburg, Germany

The Installation constantly pumps (black waste) oil over the canvas, which flew over the surface in waves. It is questioning our approach on natural ressources.

„invalid borders“ // Installation // wooden sticks, manipulated rotating washingmachine motor // ca. 230x 350cm // 2018

This Installation was part of the soloshow „pure simulation“ at
 Galerie Bridget Stern, Hamburg Germany // 2018. It shows a constantly changing room in its borders, dimensions and appereance.

pure simulation • exhibition • galerie bridget stern

accessibility • geheimagenturbaakenhöft • public swimming pool

As part of the Intervention: “access point” (organised by geheimagentur) attention was drawn to the inaccessibility of water in hamburg, which accounts 1/3 of the city area but is not available for the public. the pool is a wooden frame that represents the silhouette of a public swimming pool. Hamburg, Germany, 2017.

Interactive Installation.
The nosiebox amplifies 4, in pitch and sound, modified manual sirens by means of a horn on each side, which can be used with a crank.

make some noise!!! is an interactiv Installation that won a competition for public Intallations ( Winterstations) with the topic: RIOT. in Toronto Canada 2017.
It is an oversized noisebox, based on the INTONARUMORI of the italian Futurist Luigi Rusollo of the year 1914, which was a kind of an Instrument-Box that shocked the local Traditionalists of the italian classical music scene so strongly, that it became a solid uproar at its premier in the Milan Opera House, Teatro del Verme.

Solo Exhibition after a 1 month Residency.

Windsculpture, 1000 cutlery knives, fishing lines, container-sized wooden frame.

SWARM is a windsculpture made of 1000 cutlery knives, which are attached to a matrix of fishing lines inside of an contianer-sized wooden frame.
By the constant movement of the knives around their own axis, they remind of remind of a shimmering school of herring, the”’ silver of the seas”.
The container stands as a symbol tor globalization and worldwide trade, the knives for the killing act of fish.
The Installation was placed in front of the Herring Museum and invites visitors to think about the worldwide problem of overfishing the oceans.

untitled II

Kinetic Installations that respond to external and internal vibrations, using a solenoid and contact microphone. Shown at the exhibition: The rectangle in its natural environment, temporary Gallery, Leipzig, Germany

“floating”, transparent foils, 5 fans, programmed, dimable neon tubes, timber, 400cm x 270cm x 300cm

transparent foils, 5 fans, programmed, dimable neon tubes, timber, 400cm x 270cm x 300cm

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