started and ongoing..

mit Mina Purešić und Lilja Schreiber


flüsterst das alles ok ist
nun sind wir beide erleichtert

nur noch selten rüttelt ein krachmacher an mir
wir können uns endlich füreinander interessieren

der hund beginnt zu bellen
das sind unsere siegesfanfaren
jetzt hat keiner mehr ne waffe
du schubst mich mit sanften händen
lass uns uns endlich ausziehen

ich seh uns gemeinsam in den wald spazieren
brust weit auf
kloß im hals
leuchtender wille


CAVES *2020

the cave is a place for withdrawal, privacy, secret, worldcreation, subversiveness, transition and the womb of the mother. as we see it as a relict of old times back in history, a playful game of childhood, I’m interested in what it can be today and where it can take place in adultlife. how we can create caves in our everyday life, what shape they can take both in a formal way as in a metaphysical sense. as i do not necessarily think them for hiding but as an essential and needed part of living and intimate encounters.


inspired by dogville by lars von trier i started in 2017
with the most basic question and the most difficult (for scenery
artists): how objects, aesthetics and fabrics evoke associations, feelings, milieus, cultural links, ..
how little is needed to create scenarios.
and above all, how to tell them in a complex and ambiguos way,
with a sensitive view opon life and people.
while acknowledge it is always a distorted picture of reality I create and recognize this as a strength.


when i worked on the “feminine principle” design i wanted to use a stage that would be reminded as a sort of a cave. as i was searching for ways to imagine contemporary cave paintings i was referring to the “manifesto for the gynecene” by alexandra pirici and raluca voinea and other artworks created by women, which all lead to the question what a female gaze could look like.

Artemisia Gentileschi - Maria Magdalena in Ecstacy 1620-25
Pipilotti Rist - Homo Sapiens Sapiens 2005

The Silbury Hill, England