We used to sleep in our beds. Today, we live in them. Advanced digitalization has progressively capitalized on this intrinsically intimate space. Through our mobile devices, we bring the world into bed with us and, by the same token, expose ourselves to the world in bed. The bed—perhaps the most intimate place of retreat—is thus increasingly becoming a public zone. Siamese Dreams conists of filmed recordings by the artist that are assembled into a video collage. Close-ups of everyday motifs are rendered alien through this macroscopic perspective and reflect a fascination for the absurdity of the everyday. From this seemingly arbitrary succession of images and the concentrated emotions they elicit, the dreamlike character of the work unfolds, lingering at the interface between remembering and forgetting. Siamese Dreams creates a space that is highly personal yet accessible to everyone. The artist experiments with the thresholds between the body and the imagination, the unconscious and the conscious, the individual and the public. It is not so much a matter of defining boundaries, but of exploring these liminal spaces and allowing them to be experienced.

Text by Paula Ursprung

A black pool appears in contrast to two performers dressed all in white. 6 sound showers play a sound scape from above, in which the voices of the performers monologuing and dialoguing are mingled in. The performers move stoically synchronous, imitating each other, responding with eye contact only. Like living sculptures they progressively move on the borders of the pool to finally dive into the basin. The process ranges between hesitation, fear and playfulness. The water is approached like an element of the unknown, with which the performers interact, treating it like a fluid opponent. They pour black color into the pool to dye the water and themselves. The procedure reveals an immersive character of humans assimilating and disappearing in their surroundings, becoming willingly or unwillingly part of an alienated context. The work examines transgression, alienation and immersion. It is a bleak reflection on modern-day identity and isolation, both in a technological and social dimension.

Text by Maximilian Steinborn

The Desiring Machines is a sound installation that consists of 220 individually hand-blown glass droplets suspended from a mash net across the ceiling within a two-channel immersive audio soundscape. Each glass drop is unique and offset in its own way, some with streams of deep red ruby glass inside them. The artist writes “The glass bodies, composed like fixed movement in space, give the impression of a social fabric. Everything is interwoven, everything flows”. The viewer is enveloped in the soundscape based on excerpts from the publication Anti-Oedipus (1977) by Gilles Deleuze and Félix Guattari. An intentionally hypnotic and difficult to follow text on the “healthy” and “schizophrenic” people in capitalist society – it is unclear who is who. The lyrical arc of the work delves into how productive desire can be. A journey through the human body begins, from its needs and processes to the mundane circulation of bodily fluids.