The work Panorama explores the different perspectives of observers and observed. Panorama consists of the prison doors of the former Düsseldorf correctional facility. They are arranged in a row in the prison's old chapel and are accessible from one side via a staircase. Lined up side by side, they form a wall that blocks the view into the space. From the staircase, it is possible to see through the peepholes to the other side of the room.

Barra and Jaloux address the culture of prepping, which focuses on private crisis care in optimized and Isolated spaces. Both works question the notlon of light as an oblective carrier of information. Jaloux is shown in the space of Barra. In Barra, perforated aluminum panels shield the window openings and the access to a hidden space behind them. A narrow opening on the side provides access to the space. The light entering through the holes creates a light projection in the interior. The pertorated panels break the light into its individual light colors. Jaloux shows a video of a 3D animated visualization of a bunker structure projected onto a mirrored blind. Due to its structure, this blind not only serves as a projection surface but also encrypts the transmitted video image by redirecting it onto the space. Two pictorial products emerge: the image on the blind and a broken projection behind it, which, due to their abstract nature, constantly need to be compared with each other in order to grasp them.

PAW GALLERY, KARLSRUHE, GERMANY

Starting point of the work Capsula Interna is the idea of space as an inverted pedestal – as negative space. This idea is transferred here to the display case.The resulting interaction between inside and outside suggests that one is inside the display case. This raises the question of what or who is being exhibited or archived.The Plexiglass room takes up the proportions of the existing surrounding space in a ratio of 1:4 and isolates it. The passage to the room is an extension of the present entrance, defining the diagonal alignment of the structure to the existing architecture and decoupling them from each other. Translucent protective films are applied to some Plexiglass panels, directing the viewer's gaze to specific scenarios within the space. This creates a barrier between the two spaces and makes it difficult to locate one's own position within the Capsula Interna.Inside the capsule, an air conditioning system maintains a constant temperature by blowing warm air from the room to the outside. The Capsula Interna constructs its own atmosphere.

AIR CON is an exploration of the windows of Erwin Heerich’s Wohnhaus building. Structures were cut into the applied blue foils, which were derived from ventilation slots of various air conditioning systems and adapted to the size of the window. The incoming light creates a projection onto the walls and floor. The foil tints the light and bathes the space in a cool blue. While inside the building, the eye becomes accustomed to the blue light. Due to the simultaneous contrast, a physiological correction process of the visual organ, the cutouts in the blue foil have a compensatory effect, and the exterior space appears in a warm orange through the openings.

The work Green Box is constructed of site-specifically adapted sound dampening insulation. The actual function of the sound insulation is ignored. The insulation materials’ main role is to interact with the given physical and spatial conditions to give shape to the Green Box. In repeating the principle in various rooms, different conditions and applications of architecture become recognizable as their specific characteristics of form.The Green Box is also a medium; the green color and rounded corners reference the technical green screen used in film and television production. As a space of projection, it gives the possibility to imagine anything. It is, however, limited to a reflective understanding of common application.

The work Hatch extends expansively through the narrow tunnel space of KIT and connects discreetly with its surroundings. Disguised as part of the existing architecture, the white wooden walls structure the space and guide visitors through the exhibition. By extending the existing form of the skylight to the floor, the installation traces the incidence of light and manifests the light rays in the architecture. The expanded funnel shape of the hatch directs the view from the dimly lit exhibition space to the light from outside. Through a narrow gap in the corner of the wall, visitors can step behind the white facade. In this space, we see a video of a dog projected onto the exposed structure, projected over the corner of the room, distorting the dog's body. In slow motion, we see the dog chasing its own tail with a twisting motion until the video reverses and the tail chases the dog.

The wall is a self-made grid of ceramic tiles installed directly in front of an existing permanent mirror art work by Gerhard Richter at the Kunsthalle Düsseldorf. The art work remained visible through the open spaces of the ceramic tile grid and reflected the rear facade of the wall. Viewers strained to see a reflection of themselves making a wholly independent space that changed the function of the art work completely.During the exhibition, I remained in the space between the mirror and the rear façade and prompted viewers by making sounds, soft movements and lighting the wall with a flashlight.The project negotiates architecture as an archival construct whose contextualization leads to different comprehensions.

SETAREH X, DÜSSELDORF, GERMANY

A three-meter-high sheet of trapezoidal metal, commonly used to secure construction sites or restricted areas, divides the space of the Kunstverein and renders sections of the exhibition area inaccessible. This spatial intervention refers to the function and form of the site's castle moat, translating the principle of demarcation vertically into the interior space. By shifting this principle indoors, the trapezoidal sheet restricts movement within the space. The physical barrier connects the two rooms of the Kunstverein while compelling viewers to reconsider their position and the space surrounding them. In doing so, the social implications of space -its use and control-become tangible.

Shelter refers to the layout of Moltkeplatz in Essen. On a reduced scale, the area is fenced in and nested three times within itself, like a matryoshka doll. The work negates the concept of open space in the park, fencing itself in and becoming a pure end in itself.

Magazin contains parts of the collection of the Museum gegenstandsfreier Kunst - Otterndorf. Built for the storage of objects, the cage was repurposed and installed upside down on the museum's ceiling. The Influence of the postwar perlod is evident in the works from the collection. Joannis Avramidis, Mechtild Frisch, Adolf Luther, Michael Croissant, Jochen Hiltmann, Otto Herbet Hajek, Gerson Fehrenbach, Françols Morellet

Beauty Pond address questions concerning the treatment of cultural heritage. For Beauty Pond, the missing arms of the figures of the Düsselnixe were replaced with used prosthetic arms. This apparent reconstruction reveals, upon closer inspection, that the added material differs proportionally from the original stone sculpture by Gustav Rutz. As a sculptural element, the prosthesis extends the Düsselnixe with its own history.

Transarchivale activates a bronze head lying on the floor through performative interaction. The quiet voice of the performer can be heard emerging from the bronze head, describing its interior in detail. The inscription attached to it is also read aloud: “Old Warrior, Kurt Zimmermann, exhibited at the Great German Art Exhibition, Florence, 1942. These concealed pieces of information enable viewers to engage with the work in an expanded way and situate it within its historical context.

The memorial Under Construction refers to a photograph from the National Socialist labor and re-education camp at Essen/Mülheim Airport. The five shovels used by forced laborers are reconstructed at a 1:1 scale and cast in iron. The arrangement of the iron elements simulates the positioning of the shovels as seen in the historical photograph of the prisoners. A QR code on the signpost along the path allows visitors to view the historical photograph on their mobile phones. The orientation of the sculpture corresponds to the sign and can be compared with the photograph from this viewing point.