artist's book (in german Language): An extensive network of paths originates from ant colonies. On these paths they move from their nest into the forest. Unfortunately, remotely living forest ants have little infrastructure available for exploration, food and material procurement. As a result, they lead a very arduous life and are unable to fully exploit their work potential. By improving traffic conditions, work processes are accelerated and made more efficient.

Intervention and artist's book: An extensive network of paths originates from ant colonies. On these paths they move from their nest into the forest. Unfortunately, remotely living forest ants have little infrastructure available for exploration, food and material procurement. As a result, they lead a very arduous life and are unable to fully exploit their work potential. By improving traffic conditions, work processes are accelerated and made more efficient.

Public performance: For two weeks I sit in the small, remote village of Boden and carve swans. On the last day of my stay, the swans are released in the nearby Streimbach to begin their long and adventurous journey. From there they can swim together down into the Lech, which finally flows into the Forggensee near Schwangau. They will pass rapids, waterfalls and embankments - many will not make it. Sunk, broken or washed up, they lie on the banks like relicts. The lucky arrivals, on the other hand, can look forward to a magical view of Neuschwanstein Castle, enthroned on a wooden hill above Schwangau. They can dwell here, or they can continue their journey, along the Danube into the Black Sea.

Institutional performance: Three people pull and tug on their clothes incessantly, watching the elastic materials stretch and squeeze together. The unannounced performance takes place during an exhibition opening. The clothes tuggers stand close to a wall among the artworks in the exhibition and are completely engrossed in their activity.

Performative installation: Prior to the exhibition opening, matches are struck in a dark gallery room for three successive nights. One after the other, they are allowed to burn down a little before they are extinguished and dropped on the ground. The resultant pile of burnt matches points to the nightly activity.

Video performance: Alone in a boat for two. Sitting in the back of a canoe, I ride around on a small lake, paddling always on the same side. The one-sided paddling keeps the boat moving, though not in forward direction but in circles. I go on making my rounds like this for several hours.

Performative installation: A patch of grass in which the yellowish impression of a human body is clearly discernible. It was created by lying down in the grass every day for a whole week. At the opening, the impression of the body is distinctly visible in the grass but gradually disappears over the course of the show.

Open studio and discussion space: The realization of my temporary and site-specific projects is contingent on possibilities of presentation and public arts grants. Therefore, the first order of business is to get to the desk: ideas that are worth realizing are visualized in sketches, concepts are worked out and drawn up. Once the plans are spelled out in writing and tests have made sure that they are actually feasible, applications for project grants are filed. Then it is waiting, impatiently, for an answer although I would really like to get going right away.
The interested public is welcome, for ten days, to visit me in my studio, get to know my working method, and discuss possibilities of project realization with me.

Interactive installation: A rain canopy is set up on the terrace of a bar. It does, however, not protect from rain—on the contrary, it is always raining under the canopy. Still, bar patrons can enjoy their drinks without getting wet if they use the provided umbrellas.

Photographic performance documentation: For two to three weeks, I wrap myself around a sérac on a glacier every day for a couple of hours. My body temperature and the pressure I apply make the ice melt away under my embrace and adapt to the contours of my body.
Three large-sized photographs give proof of my action, with the first photo showing the sérac before, the second during, and the third after the embrace.

Intervention: The trunks of two trees that are close to one another but otherwise freestanding are connected with lashing belts. By alternately tightening the belts, the trees are drawn toward one another until their crowns unite into one. The trees are kept in this position for a few weeks, until the removal of the belts separates their crowns again.

Video performance: Alone in a boat for two. Sitting in the back of a canoe, I ride around on a small lake, paddling always on the same side. The one-sided paddling keeps the boat moving, though not in forward direction but in circles. I go on making my rounds like this for several hours.

Video performance: I am building a dam in an alpine creek with rocky banks. I keep working on it for one week, six hours a day. It changes the course of the steadily flowing water, but I am still unable to block the current entirely. Even as the dam is growing higher and wider from all the stones dragged on, the water keeps seeping through.

Video performance: I am building a dam in an alpine creek with rocky banks. I keep working on it for one week, six hours a day. It changes the course of the steadily flowing water, but I am still unable to block the current entirely. Even as the dam is growing higher and wider from all the stones dragged on, the water keeps seeping through.