Together with several other artists, I co-founded arttransponder e.V., a non-for profit institution, in Berlin in 2004. At arttransponder, we are dedicated to making possible art projects at the interface to other fields of specialization with diverse participants. On multiple levels, applying a participatory approach in developing and implementing art projects has spurred discussions regarding the geo- and socio-political dimension of our work (www.arttransponder.net) Learning by doing, we broached the art system in Berlin by producing our own institution, and continue to think about the politics of decision making processes both abstractly and concretely, considering possibilites of shaping the contemporary art scene and what mght be transported beyond it. My interest in examining the political dimension of participation when working in the public realm continues to grow.
A main interest that has shaped my work these past few years is examining the genderspecific connotations of the term "work" in the art context and outside it and how this relates to matter as it becomes material when it is grasped and pushed through different contexts. Specifically, I have worked for several years with the highly unusual material breastmilk in art, exploring its history and examining and applying de-authentification processes in order to better understand how authorship can be (de) constructed in the Eurocentric art context. These ideas have flowed into my recent collaboration with Käthe Wenzel and our development of an "ego-stroker" (Bauchpnselmaschine)
I am interested in playfully examining myths and traditional constructions of power as they relate to intersubjectivity in my critique and my art, using satire, the hyperbolic and humor as a way to make visible constraints and historical exclusions and to expand the space in which choices and decisions can be made. I believe ideas exist between people.
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