I am the collective shows four microphone stands and a performer, each one with a smartphone. On each screen there is the mouth of the artist visible: The image transmitted via a live videocall. The physical performer interacts with the stands and screens and changes its positions as well as its heights.
The speed of the video transmissions varies slightly from screen to screen, caused to the speed of the data transmission and therefore a spacious and multi-layered sound develops. The performers reflect on being a collective as well as the materiality and structures of digital technology.
The durational performance was shown during a public event at V2 – Lab for the unstable media in Rotterdam as a presentation of the current state of research of the residency. The visitors would individually zoom in and out of the research map, which was projected onto the floor.

deep listening is an invitation to relax and focusses on notification sounds present in our everyday life. The machines seeking our attention, and communicating with us via sounds, while we receive messages, send Emails, or start a computer.
 
The piece is inspired by the process of “machine learning”, the reality of “deep fake” and relates these topics with the experience of “deep listening”. The term “deep listening” is known as a description for a meditative and concentrated form of listening whereas “deep learning” describes a multi layered learning system and the large amount of data used to create artificial intelligence.

For the recording two improvisation artists were asked to individually mimic the complex notification sounds with their voice.

Something Invisible does not necessarily describe something absent mimics a durational performance: the two smartphones on microphone stands show the artist‘s eye as well as the mouth, and appear like a technoid apparition. The performer reflects it‘s feminist influenced point of view and its understanding as a body consisting of many. The spoken word refers to the discourses around cyberfeminism, given structures, the material presence, and social influences of digitality as well as our merging with it. The audio recording origins from a former performance, where the spoken words were sent via a zoom call to several smartphones in the same room, and the different speeds of data transmission created a layered voice which in turn was combined with the original video footage.

Call me I’m there locates itself in the interstices of public and private, online and offline. The text-based performance uses voice to enchant everyday scenes of a digitalised society and creates an intimate and at the same time open framework between audience and performers, questioning given dynamics: Who listens and who returns the gaze?

Call me I‘m there was shown during the performance festival Die Raum, initiated by the Department of Culture of Basel and curated by Kadiatou Diallo and Madeleine Amsler, dedicated to performances in public space.

What‘s your vision? started during the first lockdown in 2020 with a daily accessible open-source-based video-chat room. It ensured a personal exchange of information in a publicly accessible space during the isolated time at home with the idea to collectively rethink current standards. Excerpts of the audio material from the series are intercut with current footage from the virtual world of Second Life. Second Life peaked back in 2013 and presents itself today as an abandoned gaming landscape.

The video shows recordings of a basic computer course in a self-organised senior citizen activity group, taught peer to peer: By senior citizens for senior citizens. The close-ups show interaction of various hands with a computer mouse, keyboard and touch screen. The sound is not cut directly onto the image but shifts to the respective sequence. The title is inspired by Peter Kropotkin’s book: Mutual Aid – A Factor of Evolution.

Wikipedia writing workshops and exchange formats focusing on the topic of art and feminism in collaboration with various groups and institutions. Who writes his_tory? is a collaborative project that questions the distinguishing structural characteristics of Wikipedia while addressing the challenges they pose. Who writes his_tory? sees itself as part of movements, works closely with other committed writers and groups and promotes gender-appropriate and situation-sensitive language use on the online encyclopaedia.

In 2019 Who writes his_tory? was initiator and co-founder of FemNetz, a feminist network within the German speaking Wikipedia. Since 2020 FemNetz organises a yearly conference and network meeting.

TRAKKATAKK took place for the first time in May 2019 at Kunstlehrstuhl Baden and is inspired by the solidarity model of existing Cryptoparties. It is an adaptable exchange format on digitalisation and digital self-defence. The respective space appears to be a hybrid between performance setting, exhibition space, laboratory and bar, and the focus is firmly on exchanging thoughts about handling data online.

The two bands OPPRESSED BY PRIVILEGE and PRIVILEGED BY OPPRESSION each perform at the same time.

In the run-up to the band rehearsals, the public were asked to send in self-penned lyrics in response to the respective band names. These lyrics then served as the raw material which the two bands interpreted musically and performed live.

The original versions of all the submitted lyrics were compiled within a publication that was launched on the day of the performance at Ausstellungsraum Klingental during Art Basel 2017. In February 2018, the 12″ vinyl EP was released on A Tree in a Field Records to accompany the performance at Kunsthalle Basel during the performance exhibition New Swiss Performance Now. The performances were staged under the title Aufstand der Privilegierten (Riot of the Privileged).

The temporary sculpture is created anew and filled with a different volume of liquid for each performance. Example of FFOAAM vol. 5. Sound, smell and movement are key components of the work.

The three-channel-installation shows video and sound material shot in a small Swiss butcher’s shop that is on the verge of closing. The images are documentary videos of various work processes performed in the family-owned business. The sound is based on the original sound and creates a soundscape that enhances the imagery through repetition and displacement.

The microphones are aligned facing the street outside the exhibition space. In a parallel room apart from the microphones there are two speakers standing opposite with their respective membranes facing each other. What can be heard is the amplified live sound of the street and passers-by. In this setting the amplified sound and the visible movement on the street cannot be perceived simultaniously