Work, Comfort, Home (2020)

3 channel video (HD), subtitles, 4 channel sound, 122 min.

Installation View Lothringer 13 Halle, Förderpreise 2020
05/03/2020 - 17/05/2020

Text (German)

„Computer vision has a great potential to help our daily lives by searching for lost keys, watering flowers or reminding us to take a pill. To succeed with such tasks, computer vision methods need to be trained from real and diverse examples of our daily dynamic scenes. […] We propose a novel Hollywood in Homes approach to collect such data. Instead of shooting videos in the lab, we ensure diversity by distributing and crowdsourcing the whole process of video creation from script writing to video recording and annotation. Following this procedure we collect a new dataset, Charades, with hundreds of people recording videos in their own homes, acting out casual everyday activities.“ (Gunnar A. Sigurdsson Et al., Computer Vision – ECCV 2016, vol. 9905, 2016.)

Hollywood in Homes (2019)

1 channel video (HD), color, sound, 6 min.

The home as workplace, bodies as data. Images that get searched for certain information. Algorithms that analyse actions. In how many pieces does one work step needs to be fragmented in order to not appear as work anymore? From text to image, from image to text, from worker A to worker B to worker A to worker B. Transformation processes of photographs that get sold, produced and analyzed digitally. Produced by humans, perceived by machines.

On-Demand Workforce (2018)

Installation Views

Fotodok, Utrecht, Netherlands
The Balcony, The Hague, Netherlands
The Grey Space in The Middle, The Hague, Netherlands,
Galerie der Künstler, Munich, Germany

Catalogue (Workplace)

Includes an essay by Moshe Z. Marvit, author of the book 'Why Labor Organizing Should Be a Civil Right: Rebuilding a Middle-Class Democracy by Enhancing Worker Voice'.

Graphic Design in Collaboration with Lukas Engelhardt and Paul Bille.

font → arial
paper → 100g/qm offset uncoated
binding → wire-o, plastic
pages → 118
edition → 28
price → 25€
availabilty → sold out

Synthetic Photographs (2018)

Inkjet-Prints, 9 x 12 cm

Generated teeth for a collection of mugshot-photographs.

Resurgence (2017)

Caretaker photographed with a cleaning utensil, C-Prints, 20 x 14 cm

Branded Clothes, C-Print, 20 x 14 cm

Performing tasks in a set time-frame
1-channel Hi-8 Video, color, sound, 12 min.

In Kreisen Verkehren (2017)

3-channel video (HD), color, sound, 3 min.

“According to the Tiqqun collective, we have become the innocuous, pliable inhabitants of global urban societies. Even in the absence of any direct compulsion, we choose to do what we are told to do; we allow the management of our bodies, our ideas, our entertainment, and all our imaginary needs to be externally imposed. We buy products that have been recommended to us through the monitoring of our electronic lives, and then we voluntarily leave feedback for others about what we have purchased. We are the compliant subject who submits to all manner of biometric and surveillance intrusion, and who ingests toxic food and water and lives near nuclear reactors without complaint. The absolute abdication of responsibility for living is indicated by the titles of the many bestselling guides that tell us, with a grim fatality, the 1,000 movies to see before we die, the 100 tourist destinations to visit before we die, the 500 books to read before we die.” ― Jonathan Crary, 24/7: Late Capitalism and the Ends of Sleep