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Peep Show

Peep Show  was a performance inside an underground dilapidated casino in Berlin, shortly before its final  redevelopment, as part of the exhibition 'Casino Real', curated by Adrenaline, 7th July 2023

Duration: unending loop (circa. 3 hours)

The piece took place inside a small nook, decorated with the old casino’s murals and small  installed sculptures. The performance was hidden, whilst being live streamed and projected on the front of the curtain. This invites a specific audience – those curious enough to come closer, stay longer, or find a way through the barrier in order to catch a glimpse. 

Behind the curtain, a live-camera roamed the halls of a miniature labyrinth, decorated with small objects and images. This sculpture simulated the winding architecture of the casino; the location of the evening. Drawing influence from peep shows and stereoscopic entertainment of the 19th century (in which images were viewed through the medium of a curtain hole, kaiser-panorama or stereoscope), the sculpture could only be accessed through the invitation of performance.

I use the live camera to similarly displace both time and space; to archive it before it has even ended. Is the video a past recording, or is it happening now? Are the objects in the video present in this space, or somewhere else? How big are they in reality?

Documentation Studio Replica

[video documentation here]

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Hot Wheel

Hot Wheel, performance as part of  '48h Neukölln' festival, KINDL Gelände, Berlin

23rd June 2023

Duration: 40 minutes

A performative lecture on the miniature cars created in 1960s California by toy company Mattel. The lecture goes down tangents of migration, childhood memory, and obsessive fetishism. Using recordings from a long-lost family telephone-reunion, we recount our own nostalgias of capitalism.

"When we started thinking about Hot Wheels; it was on the broader, societal level - about cars, speed, carbon emissions, gender. But like all public topics, there must be the private examples that support them. And so the research actually became about our memories, our families, our childhoods. About the bright colours of plastic imprinting on to our minds. The sound of wheels on the accelerator; the blue suitcase from 'America'; the tattered torn-up wallpaper; and the colour of glossy, scorching orange"

–– 'Hot Wheel' script


Made in collaboration with Julian Willming.

Documentation Richard Berger & Mike Seely

[video documentation here]

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Battleships, hARTslane Gallery London, 18th March 2023

Duration: 7 minutes

Battleships is a performance that zooms in on the textures and viceralities of objects. In a board-game format, the stone is rolled, signalling which board piece will be moved to its next position. This continues, with the board pieces – or ‘rats’ – moving along their path or changing directions. A glass-turreted castle stands in the centre; its purpose unclear.


The game has no end nor beginning; it continues in absurd loops until it stops. The piece explores instructions and rules that have unclear purposes. Why are we playing this?


A close-up camera is connected to a monitor and projection of the live-streamed game. The objects appear enormous and grotesque so close-up; their textures and shapes make an other-worldly landscape. 


[video documentation here]

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Der Diskrete Charme der Trägheit

Der Diskrete Charme der Trägheit (The Discrete Charm of Inertia), performance as part of the opera piece 'Der Diskrete Charme Der Reduktion' (dir. Schorsch Kamerun) at Komische Oper, Berlin
Premiere 17th Feb. 2023
Duration: 75 minutes

The audience walked freely through the room with headphones, hearing live contemporary opera compositions. They watch different live happenings around the space.
My performance was a small, slow ritual which reaches no conclusion, and starts repeatedly from the beginning again.
A live camera focused on my hands’ interactions with the objects, and played this live stream on monitors around the room. There was a contrasting nature between the intimate look at the natural materials of the objects, and the distanced medium of camera, projection, and a large audience.

Documentation Kathrin Krottenthaler



Skyscrapers, performance as part of the exhibition 'Big City Baby' at Zentrum für Aktuelle Kunst, Zitadelle Spandau, 9th Oct. 2022
Duration: 8 minutes

The performance was installed inside a small lookout hut on the grounds of Spandau Citadel. Audience members were encouraged to come inside the narrow space for a one-to-one reading on childhood memories of growing up in a metropolis: skyscrapers, financial districts, dystopian fantasies and the crappy CGI in early Harry Potter films.

[video documentation here]

Cartoon Ghosts // Hologram Head


'Cartoon Ghosts, or, Hologram Head ', Pumpwerk Berlin, 9th May 2021

Duration: 10 minutes

Performance lecture presented in the medium of a 'Pepper's Ghost' hologram, installed inside a chapel in Berlin as part of the research programme 'I Want to Believe' with University of the Underground.

The performance presented my research into the material properties of the typical ‘Disneyfied’ ghost, such as translucency, luminosity and weightlessness. Going down the paths of the history of animation, Phantasmagoria shows of the 18th century, and spiritualism in late capitalism, I looked at the origins of these physical properties that we have come to recognise as ghostly or otherworldly. I interviewed thinkers and makers such as Rupert Sheldrake, Ed Verreaux (production designer for Spielberg’s Casper the Friendly Ghost), independent video game makers, and a variety of psychic mediums and spiritualists.


[research presentation here]

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The Elephant and The Castle

Performance and Video // 'The Elephant and the Castle', Peak Gallery London, 14th-16th July 2020 (shortly before the building's demolition)
Duration: 4 minutes

A project researching the history, impending demolishment, redevelopment, and differing perspectives of the Elephant and Castle Shopping Centre in London.

The abstract surfaces of the Shopping Centre reflected the building’s fate. The pigeon poop and painted-over graffiti were not as random as they appear – on closer observation, the graffiti reads of direct insults to the redevelopers of the area. The red curtains in various knots hang above the boarded up pub. The shiny tiles reflect the new blocks of flats shooting up and closing in on the Shopping Centre. This project was an exercise in reading the unintended ornamentations on a building’s façade, and interpreting what they reflect of the socio-political circumstances of a place. 

The research was shown in two formats; the first was a film created in the 2020 lockdown, and the second was a live performance in the Shopping Centre itself, as part of the exhibition 'Distant Peak' in Peak Gallery London.

[video documentation here]



FISCHER ES TARSAI', Central Saint Martins, London, Jan. 2020

Duration: 5 minutes

FISCHER ES TARSAI was a performance that looked at a decrepit former shopping centre from early 20th century in Budapest, Hungary. Using Carles Santos' soundtrack for Pere Portabella's 1971 film 'Cuadecuc, Vampir'—which fictionalises behind-the-scenes footage of Jess Franco's 'Count Dracula' into a horror film in itself—the performance similarly fictionalised photographs of this building in the touristic centre of Budapest into a ghostly spectre of the city. 



 'ORPHEUS', Berlin, 1st Sep. 2019

Duration: 120 minutes

Performed on top of a fountain that was once on the façade of the Universität der Künste Berlin, but was then severed from the building when it was bombed during WWII. Now, 'Orpheus' remains hidden in an over-grown area 5 kilometres from its original location on the university. There is no knowledge as to how or why he was transported there. I performed an original aural poem that interweaved the Greek myth of Orpheus with the mystery, trauma and abandonment of this stone Orpheus'.

Audience members were instructed to come to the meeting point, where they were given a map to find Orpheus amongst the tall shrubbery. Once they found him, the aural poem was performed, followed by an evening of Greek wine-drinking and colouring Orpheus in chalk.

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