My artistic practice operates at the intersection of art, society, and history. At its centre is not the finished product, but the creation of temporary spaces in which processes, experiments, and exchanges can take place. I understand my works as laboratories and situations of an interdisciplinary nature, where artistic, scientific, and social approaches intersect.

A recurring element in my work is the engagement with archives, memory, and history, particularly in the context of Eastern and South-Eastern Europe. These perspectives make it possible to question established narratives and to reveal alternative stories that are significant for our present and future. I am especially interested in how processes of social transformation—whether shaped by historical, political, or ecological conditions—can become tangible through artistic formats.

My projects emerge in close relation to specific sites: off-spaces, historical locations, or culturally marked places do not merely provide the framework, but substantially shape the content. The works themselves are often fragile and subtle; they invite observation, listening, perception, and dialogue.

A central component of my practice is mediation. Workshops, lecture-performances, open exhibition situations, and hybrid formats create encounters across generations, disciplines, and diverse publics. I conceive of these formats as democratic spaces, in which knowledge is not transmitted top-down, but generated collectively in the process.

In this way, I understand art as an open biotope: a space in which new communities of thought and action are tested, which can initiate social transformation on a small scale.