Category Archives: works

S. ANDERS LEBEN. EINE HANDLUNG IN GESPRÄCHEN
S. Anders Leben. Eine Handlung in Gesprächen / S. Anders Leben – Living Differently: An Act in Conversations, 2025, scenic reading with inhabitants from Sandersleben, Wiederstedt and Hettstedt (Saxony-Anhalt), sports hall Sandersleben<br />
foto: Falk Wenzel S. Anders Leben. Eine Handlung in Gesprächen / S. Anders Leben – Living Differently: An Act in Conversations, 2025, scenic reading with inhabitants from Sandersleben, Wiederstedt and Hettstedt (Saxony-Anhalt), sports hall Sandersleben<br />
foto: Falk Wenzel S. Anders Leben. Eine Handlung in Gesprächen / S. Anders Leben – Living Differently: An Act in Conversations, 2025, scenic reading with inhabitants from Sandersleben, Wiederstedt and Hettstedt (Saxony-Anhalt), sports hall Sandersleben<br />
foto: Falk Wenzel S. Anders Leben. Eine Handlung in Gesprächen / S. Anders Leben – Living Differently: An Act in Conversations, 2025, scenic reading with inhabitants from Sandersleben, Wiederstedt and Hettstedt (Saxony-Anhalt), sports hall Sandersleben<br />
foto: Falk Wenzel S. Anders Leben. Eine Handlung in Gesprächen / S. Anders Leben – Living Differently: An Act in Conversations, 2025, scenic reading with inhabitants from Sandersleben, Wiederstedt and Hettstedt (Saxony-Anhalt), sports hall Sandersleben<br />
foto: Falk Wenzel S. Anders Leben. Eine Handlung in Gesprächen / S. Anders Leben – Living Differently: An Act in Conversations, 2025, scenic reading with inhabitants from Sandersleben, Wiederstedt and Hettstedt (Saxony-Anhalt), sports hall Sandersleben<br />
foto: Falk Wenzel S. Anders Leben. Eine Handlung in Gesprächen (S. Anders Leben – Living Differently. An Act in Conversations), 2023, text animation, 24 min<br />
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MR DUNST: People here often mention the past. Was it really like that? What from that era is worth keeping? The concept of ‘future’ seems to offer little inspiration here. OLIVER: I used to think it was nice being able to shop and go to the cinema here. But that changed once I started driving. It was just the way things evolved. ANJA: Life has changed. OLIVER:  We’ll find a way to adapt.  ANJA: Change is the only constant. The world will continue to evolve, and so will this place. OLIVER: We still have some time before that happens. S. Anders Leben. Eine Handlung in Gesprächen (S. Anders Leben – Living Differently. An Act in Conversations), 2023, text animation<br />
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Ms Gerd: The place itself is outdated. Oliver's child in our block is growing up as if in a retirement home. HENNY: Take a look around. The streets are deserted. MR SCHWAD: Most people prefer to retread into their own form walls. 'My home is my castle' – that's their motto.<br />
S. Anders Leben. Eine Handlung in Gesprächen (S. Anders Leben – Living Differently. An Act in Conversations), 2023, text animation<br />
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MR SCHWAD: This place hasn’t developed culturally like more central areas. Locals have long had to go elsewhere for shopping, dining, and so on. STEFAN: It’s not the people’s fault, but the infrastructure. MS RITTER: We feel left behind here. MS RATKE: We should demand more from the government! MS KLAUS: Sometimes it feels like too much for me. It takes ages to figure out what’s going on in the town council with all the bureaucracy and laws. S. Anders Leben. Eine Handlung in Gesprächen (S. Anders Leben – Living Differently. An Act in Conversations), 2023, text animation<br />
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MR DUNST: I imagine that if nothing were to happen, the future would be a blank canvas, devoid of anything. MR WINDORF: Just beyond S, there was a Stone Age settlement. When I gaze at the stars there at night, I’m struck by the thought that what I’m seeing has already been witnessed by someone long ago. From Saturn’s perspective, Earth is merely a faint dot, yet here we are living on it – tiny, but incredibly beautiful. It’s captivating. It changes the way you walk through the forest, the way you move through S.<br />
S. Anders Leben. Eine Handlung in Gesprächen / S. Anders Leben – Living Differently: An Act in Conversations, 2023<br />
Sandersleben (Saxony-Anhalt), 14 April 2023, starry sky S. Anders Leben. Eine Handlung in Gesprächen / S. Anders Leben – Living Differently: An Act in Conversations, 2023<br />
Installation Werkleitz Festival ‘Mein Schatz’, 2023, rotating door leaf (wood, car paint, metal rod) and photograph (pigment print)<br />
foto: Falk Wenzel S. Anders Leben. Eine Handlung in Gesprächen / S. Anders Leben – Living Differently: An Act in Conversations, 2023<br />
Installation Werkleitz Festival ‘Mein Schatz’, 2023, rotating door leaf (wood, car paint, metal rod) and photograph (pigment print)<br />
foto: Falk Wenzel S. Anders Leben. Eine Handlung in Gesprächen / S. Anders Leben – Living Differently: An Act in Conversations, 2023<br />
Installation Werkleitz Festival ‘Mein Schatz’, 2023, rotating door leaf (wood, car paint, metal rod) <br />
foto: Falk Wenzel S. Anders Leben. Eine Handlung in Gesprächen / S. Anders Leben – Living Differently: An Act in Conversations, 2023<br />
Installation Werkleitz Festival ‘Mein Schatz’, 2023, text animation (projection, 20 min)<br />
foto: Falk Wenzel S. Anders Leben. Eine Handlung in Gesprächen / S. Anders Leben – Living Differently: An Act in Conversations, 2023<br />
Werkleitz Festival ‘Mein Schatz’, 2023, scenic reading with inhabitants from Sandersleben (Saxony-Anhalt)<br />
foto: Falk Wenzel
more info

Zwischen 2022 und 2024 fotografierte Stephanie Kiwitt in Orten und Landschaften Sachsen-Anhalts Spuren einer andauernden Transformation (Flächenland, Fortlaufend). Ende 2023 kehrte sie nach Sandersleben zurück, um die Bewohner*innen zu ihrem Ort zu befragen. Aus zahlreichen Interviews entstand ein Textstück, in dem die Menschen über die Stimmung im Ort, über früher und heute, über den demographischen Wandel, über Möglichkeiten und Schwierigkeiten der Mitgestaltung, über Initiativen und Zukunftsvisionen berichten. Das Textstück wurde nach weiteren Interviews 2024 weitergeschrieben.

Between 2022 and 2024, Stephanie Kiwitt photographed traces of ongoing transformation in places and landscapes of Saxony-Anhalt (Flächenland, Fortlaufend). In late 2023, she returned to Sandersleben to speak with residents and learn more about their town. From numerous interviews, a text piece emerged in which locals reflect on the atmosphere in the town, the past and present, demographic shifts, and the opportunities and challenges of civic engagement, local initiatives, and visions for the future. The piece was expanded in 2024 following additional conversations.

Flächenland
exhibition Flächenland, Fortlaufend, Museum Schloss Köthen, 2023/24<br />
foto: Falk Wenzel exhibition Flächenland, Fortlaufend, Museum Schloss Köthen, 2023/24<br />
foto: Falk Wenzel exhibition Flächenland, Fortlaufend, Museum Schloss Köthen, 2023/24<br />
foto: Falk Wenzel exhibition Flächenland, Fortlaufend, Museum Schloss Köthen, 2023/24<br />
foto: Falk Wenzel exhibition Flächenland, Fortlaufend, Museum Schloss Köthen, 2023/24<br />
foto: Falk Wenzel exhibition Flächenland, Fortlaufend, Museum Schloss Köthen, 2023/24<br />
foto: Falk Wenzel exhibition Flächenland, Fortlaufend, Museum Schloss Köthen, 2023/24<br />
foto: Falk Wenzel exhibition Das Land, Kunstmusem Magdeburg, 2022<br />
foto: Johannes Ernst exhibition Das Land, Kunstmusem Magdeburg, 2022<br />
foto: Johannes Ernst exhibition Das Land, Kunstmusem Magdeburg, 2022<br />
foto: Johannes Ernst exhibition Das Land, Kunstmusem Magdeburg, 2022<br />
foto: Johannes Ernst exhibition Das Land, Kunstmusem Magdeburg, 2022<br />
foto: Johannes Ernst exhibition Das Land, Kunstmusem Magdeburg, 2022<br />
foto: Johannes Ernst exhibition Das Land, Kunstmusem Magdeburg, 2022<br />
foto: Johannes Ernst exhibition Das Land, Kunstmusem Magdeburg, 2022<br />
foto: Johannes Ernst Flächenland, 2023<br />
pigment print Flächenland, 2023<br />
pigment print Flächenland, 2023<br />
pigment print Flächenland, 2023<br />
pigment print Flächenland, 2023<br />
pigment print Flächenland, 2023<br />
pigment print Flächenland, 2023<br />
pigment print Flächenland, 2023<br />
pigment print Flächenland, 2023<br />
pigment print Flächenland, 2023<br />
pigment print Flächenland, 2023<br />
pigment print Flächenland, 2023<br />
pigment print Flächenland, 2023<br />
pigment print Flächenland, 2023<br />
pigment print Flächenland, 2023<br />
pigment print Flächenland, 2023<br />
pigment print
Fortlaufend
Fortlaufend<br />
exhibition Flächenland, Fortlaufend, Museum Schloss Köthen, 2023/24<br />
foto: Falk Wenzel Fortlaufend<br />
exhibition Flächenland, Fortlaufend, Museum Schloss Köthen, 2023/24<br />
foto: Falk Wenzel Fortlaufend<br />
exhibition Flächenland, Fortlaufend, Museum Schloss Köthen, 2023/24<br />
foto: Falk Wenzel Fortlaufend<br />
exhibition Flächenland, Fortlaufend, Museum Schloss Köthen, 2023/24<br />
foto: Falk Wenzel Fortlaufend<br />
exhibition Das Land, Kunstmusem Magdeburg, 2022<br />
curated by Annegret Laabs and Uwe Gellner<br />
foto: Johannes Ernst Fortlaufend<br />
exhibition Das Land, Kunstmusem Magdeburg, 2022<br />
curated by Annegret Laabs and Uwe Gellner<br />
foto: Johannes Ernst Fortlaufend<br />
exhibition Das Land, Kunstmusem Magdeburg, 2022<br />
curated by Annegret Laabs and Uwe Gellner<br />
foto: Johannes Ernst Fortlaufend - Scha. 8.23-2, 2023<br />
pigment print Fortlaufend - Scha. 12.22, 2022<br />
pigment print<br />
Fortlaufend - Brac. 9.21-1, 2021<br />
pigment print Fortlaufend - Irxl. 08.23, 2023<br />
pigment print Fortlaufend - Dome. 9.21, 2021<br />
pigment print Fortlaufend - Schr. 1.22, 2022<br />
pigment print Fortlaufend - Staß. 3.24, 2024<br />
pigment print Fortlaufend - Gate. 06.23, 2023<br />
pigment print Fortlaufend - Lett. 9.21-2, 2021<br />
pigment print Fortlaufend - Colb. 11.21-2, 2021<br />
pigment print Fortlaufend - Eisl. 5.24-1, 2024<br />
pigment print Fortlaufend - Colb. 8.23, 2023<br />
pigment print
CLOSE IN OPEN
Close in open, P5, curated by De Cleene De Cleene, 019, Ghent, 2019<br />
foto: Michiel De Cleene Close in open, P5, curated by De Cleene De Cleene, 019, Ghent, 2019<br />
foto: Michiel De Cleene Close in open, Parking # 4-6, pigment prints, 140 x 80 cm, 2019<br />
foto: Michiel De Cleene Close in open, Parking #1, pigment print, 140 x 80 cm, 2019 Close in open, Parking #1, pigment print, 140 x 80 cm, 2019 Close in open, text projection, 12 min, 2019<br />
foto: Michiel De Cleene Close in open, text projection, 12 min, 2019<br />
foto: Michiel De Cleene Close in open, text projection, 12 min, 2019<br />
foto: Michiel De Cleene Close in open, text projection, 12 min, 2019<br />
foto: Michiel De Cleene Close in open, text projection, 12 min, 2019<br />
foto: Michiel De Cleene Close in open, text projection, 12 min, 2019<br />
foto: Michiel De Cleene Close in open, text projection, 12 min, 2019<br />
foto: Michiel De Cleene tyreprint, carbon on paper, 600 x 280 cm, 2019
more info

During four weeks, Stephanie Kiwitt resided in 019 in Ghent, visited the surrounding parking lots on a regular basis, stayed to observe the dynamics within a very defined and universal space. Starting, halting, moving – presence, leftovers, absence.

‘Close in open’ is the fifth instalment of P, a series of exhibitions and events on the idea, the functioning and the aesthetics of the parking lot, curated by De Cleene De Cleene. As an area where cars or other vehicles can be left temporarily, the parking lot is a site that stockpiles potential. It is an aside to the road and to the romantic idea of travel, and a necessary counterpart to the modern preoccupation with speed. It is a secondary place that often goes unnoticed, a landscape at the service of a department store, an amusement park, a factory, a journey. Once an ‘enclosed preserve for beasts of the chase’, it has become an increasingly questioned, regulated yet volatile landscape. It is a patchwork incessantly formed by aesthetic, functional, ecological, political and economic strategies. It is a place of temporary stagnation at the service of movement, a grid that gathers and structures objects, people and stories in a continuously changing puzzle.

The line that connects A to B, pauses at P.

Aanwervingslokaal
Aanwervingslokaal, pigment print, 2018 from the series Aanwervingslokaal, pigment print, 2018 Exhibition view Touch, nGbK, curated by Nadja Quante, Anna Voswinckel, Berlin, 2018<br />
foto: Barbara Proschak Aanwervingslokaal - Wachten, pigment prints, glass, 2018 Aanwervingslokaal - Aanwerven, pigment prints, glass, 2018 Aanwervingslokaal - Afscheidsparty, pigment prints, glass, 2018 Aanwervingslokaal - Gebouww, pigment prints, glass, 2018 Aanwervingslokaal - Digitale aanwerving, pigment prints, glass, 2018 from the series Aanwervingslokaal, pigment print, 2018 from the series Aanwervingslokaal, pigment print, 2018 Exhibition view Tender Buttons, curated by Nadja Quante, Anna Voswinckel, Künstlerhaus Bremen 2019<br />
Aanwervingslokaal, 5 magazines and text on a table<br />
foto: Manuel Meyer Exhibition view Tender Buttons, curated by Nadja Quante, Anna Voswinckel, Künstlerhaus Bremen 2019<br />
Aanwervingslokaal, 5 magazines and text on a table<br />
Exhibition view Tender Buttons, curated by Nadja Quante, Anna Voswinckel, Künstlerhaus Bremen 2019<br />
Aanwervingslokaal, 5 magazines and text on a table<br />
foto: Fred Dott
more info

The Aanwervingslokaal (recruitment office) is a building in the old harbour area of Antwerp. It was constructed in 1936 on the initiative of the trade unions by the Central organisation of employers in the port of Antwerp (Cepa) in order to regulate job search and recruitment. To this day, the dock workers are still day laborers.

The Aanwervingslokaal was the meeting place between dock workers, casual employees, employers and the trade unions. Workers registered there when seeking work, presented themselves in person to companies, and where selected. This recruitment took less than ten minutes. Just before, dockworkers and employers met at the hall or in nearby cafes, standing around and talking.

On the first of June 2018, the building’s function has been discontinued. In order to save costs and to be able to control job search and recruitment even better, workers have received iPads from Cepa. From now on they get hired and have to register daily via an app.

The work was photographed in the last weeks before the closure of the building. Is shows the waiting (Wachten) and hiring (Aanwerven) of the dockworkers, the party in the bar (Afscheidsparty) on the last day, the empty building (Gebouw), and the workers’s introduction to digital hiring (Digitale aanwerving).

Dialogues
Dialogues, Camera Austria, Graz, 2016<br />
foto: Markus Krottendorfer Dialogues, laser print, 85 x 107,6 cm Dialogues, laser print, 85 x 107,6 cm Dialogues, laser print, 85 x 107,6 cm Dialogues, laser print, 85 x 107,6 cm Dialogues, laser print, 85 x 107,6 cm Dialogues, Camera Austria, Graz, 2016<br />
foto: Markus Krottendorfer Capital Decor (Colour), yellow-magenta inkjet print, tabel, glas, 1273 x 50 x 75 cm Capital Decor (Colour), yellow-magenta inkjet print, tabel, glas, 1273 x 50 x 75 cm Dialogues, Camera Austria, Graz, 2016<br />
foto: Markus Krottendorfer Dialogues, Camera Austria, Graz, 2016<br />
foto: Markus Krottendorfer Dialogues, laser print, 85 x 107,6 cm Dialogues, laser print, 85 x 107,6 cm Dialogues, laser print, 85 x 107,6 cm
Máj/My
Máj/My, Fotograf Gallery, Prague, 2019<br />
172 x 115 cm<br />
Máj/My, Fotograf Gallery, Prague, 2019<br />
172 x 115 cm<br />
Máj/My, Fotograf Gallery, Prague, 2019<br />
172 x 115 cm<br />
Máj/My, Fotograf Gallery, Prague, 2019<br />
40 x 26,6 cm Máj/My, Fotograf Gallery, Prague, 2019<br />
40 x 26,6 cm Máj/My, Fotograf Gallery, Prague, 2019<br />
40 x 26,6 cm from the series Máj/My, 2015/18<br />
40 x 26,6 cm from the series Máj/My, 2015/18<br />
40 x 26,6 cm from the series Máj/My, 2015/18<br />
40 x 26,6 cm from the series Máj/My, exhibition verschwindet, Galerie Ursula Walter, 2019<br />
laser print, 178 x 118,7 cm<br />
in the background: work by Andreas Schulze<br />
foto: Andreas Schulze<br />
from the series Máj/My, exhibition OPEN / THE KIMONO, with Andreas Schulze, Foyer Dittrichring mit Kunsthalle G2, Leipzig<br />
inkjet prints, 220 x 146,7 cm<br />
foto: Andreas Schulze from the series Máj/My, exhibition OPEN / THE KIMONO, with Andreas Schulze, Foyer Dittrichring mit Kunsthalle G2, Leipzig<br />
inkjet prints, 220 x 146,7 cm<br />
foto: Andreas Schulze Máj/My, exhibition Vis à vis, Fotodoks, Lothringer 13, München, 2019<br />
pigment prints, 40 x 26,6 cm<br />
foto: Markus Krottendorfer Máj/My, Spot Gallery Zabreg, 2019<br />
pages from the book Máj/My, wallpainting Máj/My, Spot Gallery Zabreg, 2019<br />
pages from the book Máj/My, wallpainting Máj/My, Spot Gallery Zabreg, 2019<br />
pages from the book Máj/My, wallpainting<br />
foto: Davor Konjikusic Máj/My, exhibition view Prix de la Découverte, Les Rencontres d'Arles, 2016<br />
Máj/My, 2016 <br />
pigment prints, 100 x 66,7 cm and 45 x 30 cm Máj/My, 2016 <br />
pigment prints, 45 x 30 cm Máj/My, exhibition view Prix de la Découverte, Les Rencontres d'Arles, 2016 Máj/My, 2016 <br />
pigment print, 45 x 60 cm Máj/My, 2016 <br />
pigment print, 45 x 60 cm Máj/My, 2016 <br />
pigment print, 45 x 60 cm
more info

The title ‘Máj/My’ is inspired by the name of a department store in Prague, which was called ‘Máj’ –
Czech for ‘May’ – from the 1970s until the collapse of the communist regime, and which is run under
the name ‘My’ since 2009. Both words are pronounced identically. The phonetic consonance becomes
a marketing strategy: the old name resonates inaudibly in the new one. The spring month as well as
the socialistic May both mutate into the neo-liberal use of ‘My’, the English possessive pronoun of
the first person singular.

FOUR ORANGES SOME OFFICE BUILDINGS, WOMAN’S LEGS
Four Oranges, Some office Buildings, Woman's Legs, Riot Gallery, Ghent, 2015<br />
archival pigment prints, 222 x 150 cm<br />
Four Oranges, Some office Buildings, Woman's Legs, Riot Gallery, Ghent, 2015<br />
archival pigment prints, 155 x 105 cm Four Oranges, Some office Buildings, Woman's Legs, Riot Gallery, Ghent, 2015<br />
archival pigment prints, 29,7 x 21 cm Four Oranges, Some office Buildings, Woman's Legs, Riot Gallery, Ghent, 2015<br />
archival pigment prints, 29,7 x 21 cm
CHOCO CHOCO
Un-Scene III, Wiels, Brussels, 2015<br />
archival pigment prints on glossy paper, 223 x 152 cm<br />
Foto: Sven Laurent Un-Scene III, Wiels, Brussels, 2015<br />
archival pigment prints on glossy paper, 223 x 152 cm Fétichismarchandise, Centre de la photographie Genève, 2015<br />
archival pigment prints on glossy and matte paper, 223 x 152 cm Fétichismarchandise, Centre de la photographie Genève, 2015<br />
archival pigment prints on matte paper, 36 x 24 cm / archival pigment print on glossy paper, 223 x 152 cm Fétichismarchandise, Centre de la photographie Genève, 2015<br />
archival pigment prints on matte paper, 36 x 24 cm<br />
Choco Choco / Capital Decor, Kunstverein im Reuchlinhaus, Pforzheim, 2015<br />
archival pigment prints on glossy paper, 223 x 152 cm Choco Choco / Capital Decor, Kunstverein im Reuchlinhaus, Pforzheim, 2015<br />
archival pigment prints on glossy paper, 223 x 152 cm
GYM
Un-Scene III, Wiels, Brussels, 2015<br />
Foto: Sven Laurent Un-Scene III, Wiels, Brussels, 2015<br />
GYM #1, 2 archival pigment prints on pearl paper, 87 x 60 cm GYM #2, 4 archival pigment prints on pearl paper, 87 x 60 cm GYM #4, 4 archival pigment prints on pearl paper, 87 x 60 cm GYM #3, 4 archival pigment prints on pearl paper, 87 x 60 cm GYM #5, 3 archival pigment prints on pearl paper, 87 x 60 cm GYM, Galerie Weingrüll, Karlsruhe, 2013 GYM, Galerie Weingrüll, Karlsruhe, 2013
Wondelgemse Meersen
Disputed Landscape : The Visual Paradigm, Camera Austria, Graz, 2015<br />
Foto: Lupi Spuma<br />
Hungry / Hungry, Galerie Jochen Hempel, Berlin, 2013<br />
Foto: Andreas Schulze Wondelgemse Meersen. Archiv, 2012/15<br />
12 archival pigment prints, 10 x 15 cm, mounted on cardboard, framed, 65 x 80 cm Wondelgemse Meersen. Archiv, 2012/15<br />
15 archival pigment prints, 10 x 15 cm, mounted on cardboard, framed, 65 x 80 cm Wondelgemse Meersen. Archiv, 2012/15<br />
archival pigment print, 121,95 x 81,3 cm Wondelgemse Meersen. Archiv, 2012/15<br />
15 archival pigment prints, 10 x 15 cm, mounted on cardboard, framed, 65 x 80 cm Wondelgemse Meersen. Archiv, 2012/15<br />
15 archival pigment prints, 10 x 15 cm, mounted on cardboard, framed, 65 x 80 cm Wondelgemse Meersen. Archiv, 2012/15<br />
archival pigment print, 121,95 x 81,3 cm Wondelgemse Meersen. Archiv, 2012/15<br />
archival pigment print, 121,95 x 81,3 cm Wondelgemse Meersen. Archiv, 2012/15<br />
15 archival pigment prints, 10 x 15 cm, mounted on cardboard, framed, 65 x 80 cm Wondelgemse Meersen. Archiv, 2012/15<br />
15 archival pigment prints, 10 x 15 cm, mounted on cardboard, framed, 65 x 80 cm untitled (identity of place), KASK School of Arts, Ghent, 2012<br />
slide projection with 6 projectors untitled (identity of place), KASK School of Arts, Ghent, 2012<br />
slide projection with 6 projectors untitled (identity of place), KASK School of Arts, Ghent, 2012<br />
slide projection with 6 projectors untitled (identity of place), KASK School of Arts, Ghent, 2012<br />
slide projection with 6 projectors
CAPITAL DECOR
Capital Decor, Projektplus, Nádraží Holešovice, Prague (CZ), 2016<br />
24 Xerox prints, 86 x 112 cm, mounted on 24 clynders Capital Decor, Projektplus, Nádraží Holešovice, Prague (CZ), 2016<br />
24 Xerox prints, 86 x 112 cm, mounted on 24 clynders Capital Decor, Projektplus, Nádraží Holešovice, Prague (CZ), 2016<br />
24 Xerox prints, 86 x 112 cm, mounted on 24 clynders Capital Decor, Projektplus, Nádraží Holešovice, Prague (CZ), 2016<br />
24 Xerox prints, 86 x 112 cm, mounted on 24 clynders Lange Nacht der Kultur, billboard, Rathausplatz Pforzheim, 2015<br />
inkjet prints on blueback paper, 250 x 356 cm<br />
Capital Decor, GfzK, Museum of Contemporary Art, Leipzig, 2010<br />
inkjet print on blueback paper, 50 x 1273 cm, tables, glass<br />
soundwork (20:56 min, voice: Christophe Piette)<br />
Capital Decor, GfzK, Museum of Contemporary Art, Leipzig, 2010<br />
inkjet print on blueback paper, 50 x 1273 cm, tables, glass<br />
soundwork (20:56 min, voice: Christophe Piette) Capital Decor, GfzK, Museum of Contemporary Art, Leipzig, 2010<br />
inkjet print on blueback paper, 50 x 1273 cm, tables, glass
SELF KASSA
4 dolle dage / 4 tolle Tage / 4 jours fous, Galerie b2, Leipzig 4 dolle dage / 4 tolle Tage / 4 jours fous, Galerie b2, Leipzig 4 dolle dage / 4 tolle Tage / 4 jours fous, Galerie b2, Leipzig Self Kassa #1, 2010<br />
archival pigment print, glossy paper, 225 x 152 cm Self Kassa #2, 2010<br />
archival pigment print, glossy paper, 225 x 152 cm Self Kassa #3, 2010<br />
archival pigment print, glossy paper, 225 x 152 cm Nintendo, 2010<br />
archival pigment print, matte paper, 204 x 152 cm Air-conditioner, 2010<br />
archival pigment print, matte paper, 204 x 152 cm Bags, 2010<br />
archival pigment print, matte paper, 204 x 152 cm
I Want to Live in the Present Not the Past
I Want to Live in the Present Not the Past, Galerie b2, Leipzig, 2009 I Want to Live in the Present Not the Past, Galerie b2, Leipzig, 2009 VEKTRA, 2009<br />
Lambda print, 170 x 130 cm ZENTRUM, 2009<br />
gelatin silver print, 44,6 x 34,7 cm MAGNETA, 2009<br />
archival pigment print, 111,5 x 83,5 cm HIGHLANDER, 2009<br />
archival pigment print, 111,5 x 83,5 cm MONADE, 2009<br />
archival pigment print, 39,6 x 29,7 cm KLASSIK, 2009<br />
gelatin silver print, 44,6 x 34,7 cm KOMPLEX, 2009<br />
Lambda print, 170 x 130 cm SAGA, 2009<br />
Xerox print, 112 x 84 cm ORION, 2009<br />
Lambda print, 122 x 94 cm M 6071, 2009<br />
laser print, 38,8 x 29 cm
Cornerville
L'Été photographique de Lectoure, Centre de la Photographie de Lectoure, 2008<br />
Xerox prints on MDF, 210 x 280 cm, 150 x 210 cm Close The Gap, Stadtgalerie Kiel 2008<br />
Xerox prints on MDF, 210 x 280 cm, 150 x 210 cm Cornerville, Galerie b2_, Leipzig 2007<br />
Xerox prints, wallpapered, 130 x130 cm, 210 x 280 cm, 164 x 220 cm Cornerville, Galerie b2_, Leipzig 2007<br />
Xerox prints, wallpapered, 164 x 220 cm, 280 x 210 cm