I work interdisciplinary within Performance, Scenic Arts/Theatre and immersive Installations. I studied Acting in Berlin (2002 - 2005) and received my Master’s Degree in Performance Studies at University of Hamburg (2008 - 2010). In addition to my solo projects I regularly work collaboratively with strangers, lovers and friends, most notably with artist Natascha Moschini, my partner in crime since 2008. Until October 2018 I was Artist in Residency at Maxim Gorki Theater Berlin together with TALKING STRAIGHT Collective, which I co-founded in 2014.
My works were performed at Maxim Gorki Theater Berlin, Theater am Neumarkt Zürich, Kampnagel Internationale Kulturfabrik Hamburg, HAU Berlin, Theater Aachen, Theater Marburg, Kammerspiele München, Kunsthaus Erfurt and nGbK Berlin. I participated in various international Festivals like Sziget Budapest, Bone Performance Festival Bern and Preavis des Desordre Urbain Marseille.
Recently I taught workshops and guest lectures at Zürcher Hochschule der Künste (Fachbereich Theater), Universität Hildesheim (Institut für Medien, Theater und Populäre Kultur), Hochschule der Künste Bern (Y- Institut and Fachbereich Theater) and at Internationales Forum of TheaterTreffen Berlin.
Fur further information don’t hesitate to contact me for an updated CV.
Through working with sensuality and intimacy in a shared space with the visitors I aim to create emancipatory experiences of transformation and disruption. I feel empowered by believing in theatre/performance as witchcraft - putting a spell on reality by reclaiming otherness in actu.
could easily be misunderstood as referring to the mere opposite of beauty, of an unreflected destructive practise. Paradoxically it is in fact a deformation; the deconstruction and the abolishment of certain aesthetics and of the capitalistic craving of making something valuable and desirable. Uglification expels superficiality, but includes nonsense, monstrosity and beauty as provocation.
is a tactic to leave the dictatorship of sense, and of inventing a utopian heteroglossia. take care of the sounds and the sense will take care of itself. It is a radical use of language and sound as interference AND material.
is a strategy of tracing the radical potential of love as a disruptive impulse and force of action. Performing love is subversive: lover’s exchange is self-sustaining, one breathes through the mouth of another, they nourish on the other’s gaze, they eat each other up. The Lover - an amateur in every sense - has to embrace collapse, stimulates implosions, welcomes failure, and engages indysfunctionality. AMATEURISM is empathic towards embarrassment, heat and intensity; it disturbs time, functionality and sense.