Born out of an immersive workshop with secondary school classes in Berlin which centered around the pressing topic of climate change and its impact on the ocean, this collective film shoot captures a distinct essence of a generation caught amidst a profound state of transition. The fragmented nature of the film serves as a mirror to the turbulent experiences of the young adults, aged around 15 years old, as they navigate the complexities of their existence, offering a unique glimpse into their hopes, fears, and aspirations in grappling with the complexities of our time. The film incorporates a diverse range of sounds and moods, seamlessly merging the concrete realities of Berlin with the abstract realms of association connected to the vastness of the sea.
A Tabu in Fiji traditionally defines a thing or place as sacred and prohibits any human interference once it is installed. The film takes witness in the ceremonial practice of establishing the first Tabu in the open ocean following a unique ritual. Men from Vanua Vatu island are joined during the traditional practice by the art organization TBA21 Academy. The film follows the diverse group during this unprecedented event.
The installation within the exhibition The Oceanic at CCA Singapore also consisted of a table of additional documents and images, some turned to their back.
Taking its title from a man made radioactive element, AMERICIUM addresses the literal contamination of sacred lands and the spiritual neglect of an American landscape. The film revolves around the contested long term nuclear storage facility of Yucca Mountain using portraits of individuals and local communities to explore the conflicting ideologies and fantasies of the American West. It is a search for what is invisible and embedded within the landscape, a meditation on what is simultaneously real and imagined. Most filming material had been produced just prior to the November 2016 Presidential election.
The installation at Glasmoog Cologne in 2017 included window foiling that resembled a casino design, effectively blocking the view into the interior of the space.
Located in the heart of the Italian city Albenga, Bar del Ponte served as a vital social gathering place for refugees faced with numerous obstacles on their path to integration.
Run by a compassionate Moroccan, it provided a safe haven for individuals fleeing war,
persecution, and hardship. Within its walls, people from different backgrounds, cultures, and experiences found solace and companionship. What initially began as a trailer for a semi fictional film, transformed into a short documentary about the making of a film. The bar was closed by the municipality shortly after the first filming took place.
Between the 1960s and 1980s the German ethnographer completed more than 400 ethnographic films of indigenous communities around the world, studying and documenting their cultures, societies, and behaviors for renowned institutions such as the Encyclopaedia Cinematographica (EC) as well as various museums worldwide. By using the same techniques he himself used to create his ethnographic films, the resulting film examines the many ambiguities of ethnographic fieldwork, institutional archiving and the conservation of memory. The film oscillates between objectification and subjective accounts that weave into the films fabric. Through playing with the gaps of montage, the juxtaposition of image, text and sound the film’s shifting narrative moves between filmic document, recounted memory and the act of staging.
Using various levels of imagery, the essay film Europium draws connections between Papua New Guinea's colonial past and the planned excavation of raw materials from the Bismarck Sea. The film weaves a narrative around the rare earth element Europium; named after the European continent, the material will be culled from the ocean floor to ensure brilliant color images on smartphone displays and other flat screens, and of course for its fluorescent property, which is used to guarantee the authenticity of euro bank notes. The film describes this seemingly mundane fact as a return and repetition of history, pointing in the process not only to the complexity of human culture, its economies and systems of exchange, but also exposing the invisible ghosts of the past as they appear in the modern objects of our lives.
The Villages is a documentary film, presenting two geographically distinct communities as they begin to merge into one fictive filmed space. The film moves from intimacy to observation, focusing on a retirement community of the same name and the former German colonial town of Swakopmund, Namibia, most recently appearing as the setting for the remake of the British television series, The Prisoner. Using the series as a leitmotif, The Villages portrays the reconstruction and the idealization of colonial histories, through the architecture, borders and social relations of both communities. A narrative begins to form between the analogies of spaces and the conventions of documentary, between the synchronization of image and sound; between acting and editing. The Villages represents a fantastic dystopian space, through the ever-evolving social segregation of the communities and the transformation of tourism into everyday life.
- Jakob Schillinger
We are Stardust We are Golden and We´ve got to get Ourselves back to the Garden, whose title is taken from a verse of Joni Mitchell's song "Woodstock," returns to the place where the legendary festival of the same name took place in 1969. Exactly forty years later, the archaic 16mm film camera and analogue sound document the now privatized grounds patrolled by the police, capturing the surveillance as well as the commodification of "counterculture" at the newly opened museum.
PARADOKS Festival Leipzig
Mining Photography Kunsthaus Vienna, Photomuseum Winterthur
Counter Flows Bathala Cinema Center Porto
17. Istanbul Biennale
Climate of Concern RADIUS Center for Contemporary Art and Ecology
Takeover Gropius Bau Berlin
Chennai Photo Biennale
Critical Ecology on film Mishkin Gallery New York
Hybrid / New Nature Hellerau Europäisches Zentrum der Künste Dresden
The Sea is Glowing Rijeka 2020
Symptom Bauhaus West Museumsquartier Den Haag
Migration and the Sea Akademie der Künste der Welt Köln
The Drowned World Toronto Biennale film program
Circular Flow - On the Economy of Inequality Kunstmuseum Basel
12x12 IBB Video Space Berlinische Galerie
Oceanic Feeling Hessisches Landesmuseum Darmstadt
Filmic Practices within Autochthonous Struggles La Femis Paris
Third from the Sun. Views and Prospects of the Anthropocene mumok Vienna
The Cracks not the Mirror Videonale.scope#6, Cologne
Holen und Bringen Werkleitz Festival, Halle
Tangible Remains. Hidden Matters. Decad Berlin
Oceans. Imagining a tidalectic worldview Museum of Modern Art Dubrovnik
Extreme Environments Fotografie Forum Frankfurt
Somewhere in Between BOZAR, Brussels
Reassembling the Natural Tieranatomisches Theater in Berlin
Face/Value transmediale, Haus der Kulturen der Welt Berlin
The Oceanic Centre for Contemporary Art Singapore
I Taste the Future Lofoten International Art Festival (LIAF)
Americium Glasmoog Cologne
Sekula beyond Sekula TBA21-Augarten
Are we Human? 3. Istanbul Design Biennale
MFA Photography Bard College, New York
Experimental Film, Prof. Heinz Emigholz, University of the Arts Berlin
Research Fellow Climate Crisis and Cultural Loss
led by curator Ute Meta Bauer, Technichal University Singapore
Artist in residence Goethe Institute Singapore
Artist in residence Art Hub Copenhagen
Fellowship 'The Current' Thyssen Bornemisza Art Contemporary Academy TBA21 Academy
Artist Fellowship Kunsthochschule für Medien Köln (KHM)
Film/Video residency at TABAKALERA San Sebastian
Artist Residency Bosch Research Campus
Artists film/video work stipend Berlin Senate of Cultural Affairs
Film/Video fellowship, Akademie Schloss Solitude Stuttgart
Postgraduate Working Grant Elsa-Neumann-Stipend Berlin
Take Over Kinder kuratieren Workshop Carl Humann Schule
We Are Ocean Workshop commissioned by ARTPORT_Making Waves
in collaboration with UNESCO and RIFS Potsdam
2018 - 23
Academy of Fine Arts Nuremberg LEONARDO
Participant „ART FORMS TRANSFORMATION
Institute for Advanced Sustainability Studies Postdam
Panelist Marine Region Forum Berlin
Filmic Practices within Autochthonous Struggles La Femis Paris
Views and Prospects of the Anthropocene mumok Wien
Artist Talk Life with Water Panelist Art Hub Copenhagen
Extracting (Hi)stories of Complicity Panelist transmediale HKW Berlin
Who owns the Ocean? Panelist Centre for Contemporary Art Singapore
The Henningsvær Charter Art Academy and NTNU Trondheim
Art of Movement cinematography, documentary by Boglárka Börcsök
Guest Lecturer Academy of Fine Arts, Dresden
Guest Lecturer Berlin Weißensee School of Art
Workshop Kinoproba interrnational film festival Jekatarinburg
Laugther at Work, The Politics of Humor in Film conference
Akademie Schloss Solitude Stuttgart
Chronicles of Work V: The Dissensual Awareness of Labor Panelist
Akademie Schloss Solitude
Fair Oceans Conference Bremen Panelist