WE NEED A SECOND TO JUDGE, 2026
In
We Need A Second To Judge, two opposing structures create a narrow, visible space between them. Anyone standing in the middle finds themselves in an intimate moment of heightened body awareness and at the same time in an exposed position. Their own breathing becomes more audible due to the acoustic change in the space. The situation oscillates between privacy and public exposure. This tension allows us to experience how much social dynamics are already embedded in the spatial arrangement.
TRUST ME, 2025
Trust Me transforms the classic pump of the conservative female work outfit by replacing the heel with heavy, chrome-plated anal plugs. Based on Paul B. Preciado's Counter-Sexual Manifesto—in particular the idea of thinking of the anus as the center of sexuality and understanding penetration as fundamentally accessible to all bodies—the work transfers a model of radical equality to the world of work.
The manipulated shoe becomes an ambivalent instrument of power: between empowerment and threat, between fetish and business attire. Presented in billboard size in front of the main entrance of the HfbK Hamburg, the work deliberately appropriates the visual language of advertising—loud, dominant, and inescapable.
Trust Me comments on the continuing underrepresentation of women in positions of power, the sexualization of female bodies as a marketing strategy, and the role of workwear as an instrument of discipline. The title oscillates between promise and warning—as a call to take up space and renegotiate power relations.
UP THE ANTE, 2024
Up The Ante was designed for a competition. Three artistic works were to be exhibited, each with maximum dimensions of 1.5 x 1.5 x 1.5 m. The three metal cubes, occupy the maximum space. All sides are covered with banners. The banners are printed with images of folds in the same fabric. The metal frames balance on dice. Up The Ante makes a statement. The work takes up space, is an illusion, and makes a promise. Here, imposture and substance have to be kept in balance.
CABINET OF ODDS AND ENDS, 2023
in collaboration with Olga Mathilde Gärtner and Miguel Rodriguez Ugolini
[...] My orientation system has edges and substance; it consists of the remnants that I accumulate around me. The remnants from my grandparents‘ type case. [...] The cassette tape that my father recorded. [...]
The remnants have a charge, like a battery. A charge is always a potential, real energy, and if you can charge something, you can certainly also use it up or discharge it. I can imagine that they discharge when they are torn from their personal context. Why?
There is no such thing as perfect orientation. Dead ends. Cul-de-sacs. Mazes. I have tried to create a system of order, but no matter how many walls I build around myself and no matter how many remnants I have, I remain disoriented.
-Excerpt from the accompanying text
SORRY, ICH HAB' ECHT NULL AHNUNG VON KUNST, 2022
[...] The exhibition space can normally be opened via a double door in the façade, leading out to the residents of the industrial working-class district of Veddel. But now, a reflective film surface not only prevents passage, but also
provides a view that only works in one direction. Due to the difference in light levels, the one-way mirror film used inside acts as a mirror, allowing a view into the exhibition space from the outside. Thus, the exhibition situation in
the White Cube itself is exhibited, and the audience is shifted outside onto the street—to the residents of Veddel, the people shopping at Penny across the street, and the guests staying at the Leonardo Hotel. [...]
- Excerpt from the accompanying press text by Katrin Krumm
AILEEN, 2025
Aileen Wuornos lives on the streets, sells her body, and shoots seven men in the 1990s. In 2002, she is executed after a long, contradictory trial. Her guilt remains controversial to this day.
The production approaches Aileen through two spaces: the prison cell and the courtroom. Between the cold, sterile isolation and the warm, formalized public sphere, two contrasting realities emerge. The stage follows these tensions – between control and collapse, observation and self-assertion. In the cell, Aileen appears astonishingly composed, almost at peace with herself; in the courtroom, on the other hand, she loses herself, becomes unapproachable, eccentric, perhaps insane.
3024 UNIQUE ICE CREAM FLAVOURS DIY, 2023
Leonce and Lena feel alienated. Alienated from themselves and alienated from the world. They embark on an existential quest that oscillates between sensory overload and silence. The deep black sphere accompanies them and becomes a projection surface. It is hope, promise, lightness – but also misery, emptiness, heaviness. Leonce and Lena hide behind the sphere, are crushed by it, press themselves against it, and push it away. The sphere is bulging and collapses. It is everything and nothing.
LOST IN SPA GARDEN CITY, 2023
We embark on a journey. We walk through a maze-like sequence and are welcomed into paradise. A place free from work. Here, it‘s all about relaxation and light activity. The light is bright, the grass is slightly damp and warm, and the water in the pool is pleasantly cool. Clay is distributed to calm nervous hands. With the therapeutic suggestion: Knead the best version of yourself! – But here the mood changes: Because who am I if I don‘t work?