WORK IN PROGRESS

MY SENTENCE

Short film, in production

Trans­la­tion of the play “Kas­par” by my fath­er into a film with my moth­er as prot­ag­on­ist.

NO. HOT_​L

Site specific intervention process, Work In Progress

Hol­i­day apart­ments, trans­itions, memor­ies, recyc­ling, uneas­i­ness, fake and reverse steal­ing.

PINK BRIGADES

Touristic artivism, Work In Progress

In col­lab­or­a­tion with art-lodge.

25 DRAWINGS PER HOUR

ca. 230.000 drawings, Work In Progress

A copy /​remake of “Chronik der laufenden Ereign­isse” (1971), a film by my fath­er, as draw­ings of single film frames.

ONE, TWO, FOUR

Documentary film, in production

A semi doc­u­ment­ary tale told from the point of view of a child and its first ten years of per­ceiv­ing the world.

AAA! (2018 — ongoing)

Actionist collective

AAA! (Almost Aged Action­ists Anonym­ous) is an artist­ic self-help group with the aim of exchan­ging and devel­op­ing inter­ven­tion ideas that can eas­ily be con­ver­ted into prac­tice by single per­sons. The inter­ven­tions and actions deal with real­it­ies of women over 40 on the bor­ders of pub­lic and private spaces, of leg­al­ity and with role con­struc­tions and clichés.

AAA! was star­ted in the con­text of the fest­iv­al Wien­woche in 2018. Action­ist ideas and oth­er inspir­a­tions from inform­al meet­ings have been col­lec­ted on the AAA! web­site since then as work-in-pro­cess.

THE UNKNOWN (2017)

In situ performance at the Festival Of Regions

A woman is stand­ing alone at the side of the road – is she a hitch­hiker, a pros­ti­tute, seek­ing help, flee­ing, dis­placed, lost or deranged? Her looks, any­way, are incon­spicu­ous: appar­ently loc­al, con­ven­tion­ally dressed, no lug­gage oth­er than a hand­bag, aged around 40. She is try­ing to wave down cars.

Once a cars stops she does not get in but rather tells short excerpts from first-per­son accounts by women driv­en into vari­ous kinds of depend­ency through the opened win­dow. The texts are based on the film script of “It Happened Just Before” (Anja Salomonow­itz, 2006).

اداباي

(2017)

Performance, 22 photographic prints (40x60 cm), additional material (overall sizes variable)

In the “Fasching” (car­ni­val) sea­son people dis­guise and often hide their faces. A cus­tom that allows dif­fer­ent inter­pret­a­tions, depend­ing on the point of view. Thus also an occa­sion to reflect on dress reg­u­la­tions and con­ven­tions, on con­form­ity and role mod­els; about what is famil­i­ar or strange /​exot­ic, espe­cially con­cern­ing the own “cul­tur­al back­ground”.

Carinthia (Aus­tria) as my fam­ily’s ori­gin region is the set­ting for an exper­i­ment that incon­spicu­ously con­fuses stig­mat­iz­ing tend­en­cies in con­tem­por­ary image pro­duc­tion, involving the loc­al pho­to­graph­er Fran­ziska Dav­id who usu­ally works for region­al media: The woman dressed in black is a stranger adapt­ing to this and that cus­tom and stands out even more by doing so, her veiled face being a con­ces­sion to seem­ingly dif­fer­ent, con­tra­dict­ory con­ven­tions.

100+ (2014)

Multidisciplinary performance evening

Curated by Gerda Lampalzer & Amina Handke

26.04.2014, Garage X, Vienna

With con­tri­bu­tions by:

Thomas Ball­hausen
Xaver Bay­er
Gust­av Deutsch & Hanna Schimek
Rain­er Mandl
Man­fred Neuwirth
Man­fred Opper­mann
Chrono Popp & Diane Shooman
PRINZGAU/​podgorschek
Libgart Schwarz
Michaela Schwentner
Scuola Music­anti Dilet­tanti
Anat Stain­berg
Tib­curl
Nives Widauer

Present­a­tion by Marc Car­nal and Max Horejs

THE PLEASING HOURS OF ARANJUEZ (2012)

Stage design, Akademietheater (Vienna) and Theatre de l’Odéon (Paris)

The Play by Peter Handke, set in a mid­sum­mer garden, was trans­posed into a back­stage set­ting where two act­ors meet amidst dec­or­a­tion remains after their per­form­ance of „Don Car­los“ and speak about love and their past lives, before the cur­tain opens to infin­ity.