..denn was jedes Mal zurück bleibt, ist die Hülle. Die zerbrechliche Hülle dessen was gewesen ist, und die matt durchscheinende Haut dessen, was noch im Begriff ist zu werden.

apesanteur
cotton thread, steel, peeled off photo emulsion, 25x7x7 cm

video performance
interaction with own body volume as steel cuboid, HD, mute, 11’26

still on display until september 15th at Parallel Vienna, Otto Wagner Areal, 1140, Vienna.

hineinschlüpfen in sich selbst. den eigenen Körper überstülpen, hineinschälen in das eigene Volumen, sich darin auflösen. hängen bleiben. für einen Moment gefangen sein. im selbst. sich winden. sich bewegen. bewegen lassen von dem Körper. spüren. nachgeben. ausfüllen. verlassen. Volumen tragen. Masse werden. kristallisieren. getragen werden.
nicht aus seiner Haut können.

chrysalides, 2024, skin prints in gelatine, silver wire, steel, chiffon, dental floss

Meine Hände wie vertrocknete Lilien
Staubend knacken sie,
Als ich versuche deine Bilder aufzuheben
Ineinander zu schieben

Bröseln auseinander

Stück um Stück

Kein Mensch – nur das Rauschen

Wickle mich ein in alle Haare, die ich finden kann
Vergesse langsam wie es in dir war

Wie Narkose im Schlaf.

In modern society, human beings do not live according to the rhythm of natural organisms, but by controlling that dynamic in order to be more efficient and productive.
We have somehow lost touch with nature. We no longer adapt our activities to natural light and avoid being exposed to natural forces such as wind, water and soil. At the same time, there is an intensive use of natural areas in agriculture and construction.
Feelers questions the tension between domination and adaptation through a video performance in both intact and cultivated nature. The human agent becomes an undefined being, a lost organism in natural space, trying to reconnect with its surroundings. Moving with body attachments made of flexible material alters his interaction with the actual space. Although the thin wooden strips, cut from a massive oak beam, might be reminiscent of Rebecca Horn’s body extensions, they are not only used as performative objects or body
sculptures here.
Rather than being used as a mere prop, the flexible yet stable material is used to visualise the effects of pressure and resistance, showing the quality of connection with the surrounding environment. This changes the perception of the human body itself and its relationship to natural space.
At times, the extensions appear like self-acting insect feelers which switch roles with the body by turning it into a passive agent, solely able to react. At other times they seem like extensions of the body’s sensory organs, antennas that absorb vibrations and sensitize to the conditions of the environment.

be fruitful and multiply, 2024, 4K Video, stereo sound, 6’42

manipulation of 1000 poplar seeds, replaced them with a tiny silver gelatin print

or: genesis of senselessness

manipulated poplar seeds, replaced by tiny silver gelatin prints, air, glass tube, MDF, aluminium, electronic control, 200x15x15

screen print on etched glass, sheet steel, various sizes

mosquitos on sheet film, enlargement on baryta paper, 54×40 cm each