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  • Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit.
    Benjamin, Walter. Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit. In Gesammelte Schriften, Band I, Werkausgabe Band 2, edited by Rolf Tiedemann and Hermann Schweppenhäuser, 431-469. Frankfurt am Main: Suhrkamp, 1980.
  • Musik und Medien. Vom Klang im technischen Zeitalter
    Weibel, Peter. Musik und Medien. Vom Klang im technischen Zeitalter. Vol.2. Enzyklopädie der Medien, Berlin: Hatje Cantz, 2016.
  • TransVersum video
    TransVersum is a dance video directed by Marikki Hakola. The video is based on the original choreography by Ismo-Pekka Heikinheimo called "Come Quickly for I´m Seeing Stars". The theme of TransVersum is seeking of the expressions of identity and
  • Time and Time again -
    Time&Time Again extends media navigation to a site-specific context with both web- and body-based interfaces. A distributed interactive installation, the piece was commissioned by the Wilhelm Lehmbruck Museum in Duisburg, Germany, as part of its
  • Unconscious Flow
    In face-to-face communication, the occasional need for intentional lies is something with which everyone can identify. In short, to abide by social norms, we consciously lie. On the other hand, if we consider the signs that our bodies express as
  • Without Firm Ground – Vilém Flusser and the Arts -
    “Ins Universum der technischen Bilder” or “Lob der Oberflächlichkeit“ – with such programmatic titles Vilém Flusser (1920–1991) advanced to become one of the most influential thinkers to deal with communication and media in the 20th century. Flusser
  • Spider Haus
    Spider Haus is a transpecies communication artwork constructed of stereo lithography plastic and a common house spider (Theridiidae) in the winter and an orbital web spider in the summer. It is designed to amplify and connect the viewer with the
  • City of glass: Sideways -
    COLAB Art and Architecture, Bangalore Two-person show with Christoph Schäfer, who lives and works in Hamburg, Germany. Not long ago, architectural modernism presented the glass facade as equivalent to participation and empathy with the
  • The pavillion of post-contempary curating: +MUPCA -
    Museum of Post-Contemporary Art (MuPCA) in The Dump Paris est une ville qui semble croire à un déterminisme calendaire qui affecterait l’histoire de l’art et plus encore l’architecture de sa conservation. Orsay: un musée du XIXe siècle, le Centre
  • Custom Made
    The Custom Made project is a reflection on the superpower of nanotechnology, which is capable of manufacturing the universe to order with accuracy up to the very last nanoparticle. On the one hand, nanotechnology is an opportunity for us to
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