Kathrin Hunze

Molecular Machina - Value of Life
Corrosion - Overwriting Nature
Surveillance Suite
iPS Structures
System im System
Score of Abstraction
Abstract Peripheries
LAAC · life as a construct
Molecular Machina - EnzymeAlgo
Mutation and Rhythmics
Eine Stadt verschwindet · sound-book
Über die Verhältnisse
Molecular Machina · Workshop
Sound Experiments




'SINGULARIS' deals with biological and information technology granular processes of postdigital lifeforms. Through ‘Quantified Self Management’ we evolve into improved, elevated persons - singularities. Singularis is a Granalysator in which collected biological matter is scanned into pointclouds and through an audiovisual granular system is transformed into synthetic bodies forming a complex network in a web of interactions.

Realtime 3d audiovisual system created with HDRP-Unity and including working with 3d scanning and realtime pointclouds and meshes.

A KateHack project with Sound from HAI-Trio: Alberto de Campo, Hannes Hoelzl, Isak Han

Performance: 30:00 min
Installation: 17:59 min

Part of the exhibition
Westbund Art Center + FutureLab Shanghai 2019 at Centre Pompidou Shanghai

Molecular Machina - Value of Life (up)


Value of life - MOLECULAR MACHINA is an audiovisual installation that makes the molecular processes involved in Epigenetics tangible and accessible.
The project not only examines biochemical cycles, but deals with the awareness with which we confront living beings.

The environment influences how the genetic code stored in DNA is interpreted. This phenomenon and related ones are collectively termed Epigenetics. MOLECULAR MACHINA is an installation that makes the molecular processes involved in Epigenetics tangible and accessible in an audiovisual fashion.

Two genetic synthesizers constantly interpret genetic codes through sonification. One is interpreting real genetic code and shows how the encoded proteins sound. The other, based on an artificial neural network, is interpreting an artificial code and shows how the encoded enzymes work. A network of plants constitutes the environment that influences the genetic synthesizers through epigenetic processes.

First exhibiton: 4 plants did not survive.
Second exhibtion: 4 dead plants are exhibited, 2 living plants did not survive.
Next exhibtion: 6 dead plants are exhibited, how many will not survive?

Molecular Machina consists of various projects and workshops who deal with biological systems. See also Molecular Machina EnzymeAlgo and Workshop.

Exhibted at re:publica 2019

Media coverage:
re:publica 2019 Berlin – re:cap: The Movie
Deutschlandfunk Kultur

A Katehack project
Corrosion - Overwriting Nature (up)

Corrosion - Overwriting Nature

Corrosion - Overwriting Nature setzt sich mit biomedialen Räumen und der kontrollierten Schaffung neuartiger biologischer Systeme auseinander. Unsere Umwelt erfährt eine direkte Veränderung durch einen Auslöser, bei dem natürliche wie künstliche genetische Veränderungen in immer kürzeren Abständen stattfinden, natürliche und künstliche Systeme interagieren oder verschmelzen. Als Folge davon löst sich die Natur auf, weil sie sich über einen längeren Zeitraum nicht mehr regenerieren kann.

Corrosion - Overwriting Nature deals with biomedial spaces and the controlled creation of novel biological systems. Our environment experiences a direct change through a trigger in which natural and artificial genetic changes take place at ever shorter intervals, natural and artificial systems interact or merge. As a result, nature dissolves because it cannot regenerate over a longer period of time.

2 Kanal Video Installation
Surveillance Suite (up)

The Surveillance Suite is a multifaceted audiovisual performance which looks at current Slovak affairs in cybersecurity and surveillance.
Based on recent research by sociologist Terezie Lokšová on the practices and implications of public surveillance in the local context of Žilina, we turn multiple data sources into acoustic and visual experiences that zoom back in time and out in space toward a global perspective on the issues.
The ensemble's palette includes a wide range of strategies and means, from spatial sonification and 3D visualisation, computational tactics like networked live coding, data scraping, multilingual speech synthesis and processing, to vintage technology in the form of electrical horns and mechanical sirens.


Alberto de Campo
Haye Heerten
Hannes Hoelzl
Daniel Hromada
Kathrin Hunze
Arik Kofranek
Franz Milec

with the participation of:
Terezie Lokšová
Julia Scher
Thomas Hack
Echo Ho
Magdaléna Kobzová
Pictures by Sarah Massardier
PlantiSonics (up)

The landscape of plant breeders in Germany is diverse. There are many medium-sized and large breeding companies which adapt a wide variety of useful plant species to the different soil, water and temperature conditions in Germany. Wheat, rapeseed and potatoes in particular have been intensively cultivated. Over the years the breeding techniques have changed and this has influenced the variety development.
Important characteristics of the individual plant species, whether for the producer, the processing industry, the trade or the consumer, have been identified and specifically changed.
There are many examples of this: Typical characteristics of potatoes are their susceptibility to fungi and pests, the colour of the tuber, its shape, size and consistency when cooked. Long wheat stalks often fold in strong winds and are difficult to harvest. For this reason, breeders bred varieties with the characteristic short stalks.
The breeding history of useful plants is very complex. With the help of sonification, the complexity of modern plant breeding in the 20th century can be portrayed in sound. It can be used to make large, multidimensional data sets audible and comprehensible in sounds and noises.
The PlantiSonics project is the result of the productive integration of artistic aesthetic expertise with the working methods of scientific sonification research.
From Arabidopsis Thaliana to wheat and potatoes, data records from the 'Bundessortenamt Germany and the National Center for Biotechnology Information were translated into sound.

More links about the project can be found here:

Live Stream der Arabidopsis

Museum für Naturkunde

PlantiSonics bei pflanzenforschung.de

Deutschlandfunk Kultur Radio Feature von Julia Diekämper

PlantiSonics wurde realisiert von

Prof. Dr. Alberto de Campo

Dr. Julia Diekämper, Museum für Naturkunde

Marcus Gammel, Deutschlandfunk Kultur

Dr. Thomas Hermann, Universität Bielefeld

Dr. Henrike Perner, DIALOG GEA

Dr. Matthias Arlt, PLANT 2030

Kathrin Hunze
Dr. Thomas Hack

iPS Structures (up)

The relation between nature and art and the area of tension between naturality and artificiality are a constant source of scientific and social discourse. The principal and most essential questions arising are: Where are the borders and similarities between those seemingly disparate concepts? Can a true symbiosis of these elements exist, can they ever be in equilibrium?

"iPS Structures II" is the result of digital manipulation of two source images. One of them can be thought of as an induced pluripotent stem (iPS) cell. Like an iPS cell, the iPS-image has been transformed into a primordial form, embodying an almost infinite potential for differentiation. The second image provided the nutrient solution and skeleton in which the iPS-image could multiply and grow structures. This growth was further stimulated and influenced by the application of digital image filters, serving a purpose much like molecular biological vectors. The endless complexity of nature is the result of simple base objects composed and manipulated according to simple rules in many individual simple steps. This image (one of a series of five) displays a tiny yet powerful fraction of this complexity.

This project has been be displayed in the exhibition “Infinite Potentials” SciArt Center at ArtCell (Cambridge, U.K.) and New York Hall of Science (New York City), in collaboration with the Cambridge Stem Cell Institute.
Ctenoplastiphora (up)


Kingdom: Animalia
Phylum: Ctenophora
Class: Tentaculata
Order: Lobata
Family: Bolinoplastisidae

Species: Ctenoplastiphora

Ctenoplastiphora is a species of Ctenophora, commonly known as comb jellies, which comprise a phylum of invertebrate animals that live in marine waters worldwide.
Depending on the species, adult ctenophores range from a few millimeters to 1.5 m in size. Only 100 to 150 species have been validated, and possibly another 25 have not been fully described and named.

The body has adapted to the marine environment over the last 80 years and consists mainly of microplastic particles that have evolved with the jelly-like skin. It has several luminous organs both on the outside and on the inside of the body. It is believed that it uses its bioluminescent organs for communication and defense.

Part of the exhibition Hydrosphären


System im System (up)

System im System

Thalassiosira pseudonana is a species of marine centric diatoms. Diatoms are eukaryotic, photosynthetic microorganisms, who live in the water and in great variety of forms almost all over the world can be found. Diatoms are single-celled, but often occur as a colony
and its special feature is the hard shell that surrounds the cell.

System in a System represents an excerpt of a protein of clone CCMP 1335 of T. pseudonana.
The protein is visualised with a type system developed for my work GEN I.
Each character represents an amino acid and comes from a visual algorithm that I have developed.

In the sound composition, the individual amino acids in the form of their codons were entered and played back by using a gene synthesizer. The Gensynthesizer is developed to generate Sound with different or single DNA strangs.

This project was displayed as part of the exhibition 'Biologie und Bauen' at the Museum für Fotografie / Helmut-Newton-Stiftung, Berlin.

Thalassiosira pseudonana CCMP1335 info:
Score of Abstraction (up)

In “Into the Universe of Technical Images”, Vilém Flusser writes about different steps how we abstract the concrete and make ourselves subjects of an objective world. The concrete reality can be abstracted in several steps from four-dimensional space-time continuum to zero-dimensional points. These points can be recombined, calculated, and computed to form a higher-dimensional abstract reality. The objective world itself becomes a projection of these possibilities.

Complex behaviors, whether in feedback systems, chaotic circuits, social systems and/or computer programs are fascinating objects of study. The performance “A Score of Abstraction” explores the possible spaces of such systems. Based on Flusser’s thoughts, the performers design, build and program their own audio-visual/other performance systems based on a variety of devices, such as sensors, analog electronics, and different software syntheses.

Created and performed by 'The Society of Non-Trivial Pursuits' at CTM Vorspiel 2018, Berlin. Artists: Alberto de Campo, Haye Heerten, Kathrin Hunze, Lucas Maia
Abstract Peripheries (up)

How does an AI’s abstract concept of two peripheral urban districts compare to that of humans?

Artificial intelligence (AI) is increasingly becoming a vital technological tool, pervading various aspects of our lives. Artificially intelligent systems are used to evaluate and categorise real data, and thus, ultimately, reality itself. For this reason, it is essential to understand the mistakes an AI can make and the concept of reality it develops. Neural networks are a particular kind of an artificially intelligent system. These networks can perform many tasks which require a particular type of intelligence - meaning comprehension -, such as identifying or rather classifying images, interpreting spoken language, or playing games. Like the human brain, neural networks are plastic systems which can change and adapt depending on the input they receive. This process of adaptation is what we call “learning”, or, in the context of a specific task, “training”. The design and inspiration for the name of neural networks came from the understanding of our brain. A long term goal is to be able to design an entire artificial brain. Although many AI systems currently have been able to beat humans in particular tasks, such as strategic board games, we are still far from constructing a general AI. Indeed, we have a limited understanding of how our brain works, and remarkably, also an incomplete understanding of successful artificial neural networks.

In this project, we shall train a neural network to distinguish between images of the urban landscapes of Biesdorf and Marzahn in Berlin. These images are taken from Google Street View. The trained network will ideally be able to say with high certainty whether an image from one of the
two districts is showing either a scene in Biesdorf or Marzahn. The interesting thing about neural networks is that we do not fully understand how they “understand”. However, we know that our neural network learns by developing a “general image”, or “abstract concept” of Biesdorf and Marzahn. Then it compares given images to this abstract concept in order to decide whether it is “seeing” Biesdorf or Marzahn. In this project we shall try to understand this abstract concept learned by the neural network. Thus we try to answer the question: What is Biesdorf, and what is Marzahn, for an AI? And how does the AI’s abstract concept of these two districts compare to the same abstract concept for humans? In order to answer these questions we shall use images of Marzahn and transform them in a particular way until the trained neural network thinks that they are images of Biesdorf, and vice versa. This transformation is achieved by introducing several mutations to an image of, say, Marzahn, and keeping only the mutations which, according to the neural network, are more “Biesdorf-like”, while discarding the others. We continue to mutate the image until the neural network is, say, 95% sure that the mutated image is showing Biesdorf and not Marzahn. Doing this with several images, we hope to uncover the AI’s abstract image of these two districts. We shall also go one step further and we shall sonify the AI’s abstract concept. To this end, we shall visualise existing musical compositions in the form of a still image. We shall mutate this image until the AI classifies it either as Biesdorf or as Marzahn. Reversing the visualisation process, we shall obtain a new composition which for the AI “sounds like Biesdorf”, or “sounds like Marzahn”. This will enable us to understand the AI’s abstract concept of the two districts also on a sonic level. (in collaboration with Thomas Hack)

This project is part of

‘Living on the edge’: when we think of spaces we tend to think of the space within. We leave the edges — the peripheries — where instability festers and sprawls out, for the rebellious or the adventurous. In cities, living at the periphery signifies both being an insider or city-dweller, but also being an outsider; not fitting inside for economic, social, or other reasons, and therefore resigned to the edge or the opposite — explicitly chosen to live there. Suburbia, or the Suburban Sublime. For the mind, the edge represents the grey matter — the cortex — where the higher mental processing takes place. This mental space is susceptible to being moulded dynamically by inner thoughts and external stimuli. To think about the peripheries, both in the tangible and intangible, is to explore the intersection between mind and space.
Students from the class of Prof Nina Fischer, Experimental Film and Media Art, University of the Arts Berlin, will be living and creating on the edge, both in thoughts and the periphery. The exhibition will conclude with a film and performance evening
event: at June 28, from 6-9 pm: „Habitability Salon“.

In cooperation with Schloss Biesdorf, Artistic Director: Karin Sheel
As part of Make City. Berlin Remixing / Stadt neu gemischt (http://makecity.berlin/)
GEN I (up)

Signs and sign systems, i.e. codes, are part of our daily life. Some of them are simple and intuitively comprehensible. Others are complex and difficult to understand for non-experts. Nevertheless they play an important role in our everyday social life. A prominent example are the various codes used in digital information technology. These have been developed and optimized over decades and can be considered a major triumph of the human mind.

It is fascinating to realize that nature was a pioneer in that respect. The genetic code, basis of all life, is structurally very similar to the digital codes developed by humans and by now we understand how efficient and highly developed the genetic code is. In our bodies as much as in the bodies of all living beings processes analogous to processes in computers, which however seem to be rather abstract to most of us, constantly occur.

Aim of this work is to enable us to experience this fascination. To this avail the genetic code is analyzed from the perspective of semiotics. Inspired by the code itself, a sign system is developed and used to display two important mechanisms of the genetic code, transcription and translation, as audiovisual processes. In particular this should make it possible to transport microscopic processes, usually invisible to us, into our macroscopic reality. This aim shall be achieved by an audiovisual room installation.

bachelor thesis (in German)
slides (in English)
LAAC · life as a construct (up)

Life As A Construct deals with genetic data and synthetic life in virtual space.
Synthetic life arises from genetic data and evolves into a simple organism.
4 Channel Installation

Exhibited as part of:
Molecular Machina - EnzymeAlgo (up)

Molecular systems are very lively, exciting and at the same time artistically inspiring worlds. The mechanisms involved are found in all living things that we know so far. They ensure that vital processes can work, with enzymes playing a very special role.
The different types of enzymes were studied, tested as possible artistic tools and their motor skills simulated. The BRENDA database supports us as an additional tool for the development of an algorithm of enzymes associated with our environment.
Based on a Turing machine, an enzyme algorithm was created which is calculated from the base triplet genetic code.

Molecular Machina I:
Audiovisual Performance in Collaboration with Cammack Lindsey

Molecular Machina II:
Soundinstallation in Collaboration with Lisa Süssegger and Arik Kofranek
Mutation and Rhythmics (up)

Genes are in a process of constant change. These gene mutations consist of various components, substitution, deletion, insertion, duplication. The installation »Mutation and Rhythmics« deals with the polyrhythms resulting from these individual components and attempts to make these microscopic processes macroscopically tangible.

Gene befinden sich in einem Prozess der stetigen Veränderung. Diese Genmutationen bestehen aus verschiedenen Komponenten, Substitution, Deletion, Insertion, Duplikation. Die Installation »Mutation and Rhythmics« setzt sich mit den aus diesen Einzelkomponenten ergebenden Polyrhythmen auseinander und versucht diese mikroskopischen Prozesse makroskopisch greifbar zu machen.

Exhibited as part of REEPER REEPER 2; Reeperbahnfestival Hamburg
F (up)

Eine Auseinandersetzung mit Nähe und Distanz im Zusammenspiel mit dem Soundscapes.
Durch Material-Experimente erstelltes Bildmaterial wird in Form von Montage zusammengeführt. Untersucht wurden Makroebenen, und Reaktionen mit verschiedenen chemischen Konsistenzen, die sich selbst in Bewegung setzten.
Die Soundscapes sind durch Field Recordings in Hamburg entstanden und mit kurzen Samplings von Mozart’s Requiem, die durch Zeitdehnung verändert wurden.

A confrontation with closeness and distance in interaction with the soundscapes.
Material created by material experiments is combined in the form of montage. Macro level, and reactions with different chemical consistencies that set themselves in motion were studied.The soundscapes were created by Field Recordings in Hamburg and with short samples of Mozart's Requiem, which were changed by time stretching.

3 Channel Installation
Eine Stadt verschwindet · sound-book (up)

Venedig, eine Stadt die beständig von Wasser- und Touristenströmen überflutet wird. Mensch und Natur tragen dazu bei, dass diese Stadt immer mehr verschwindet. Das Wissen, dass die Stadt sich im einem Auflösungprozess befindet, macht sie um so begehrter. Es ist der Reiz, es nicht greifen zu können, aber trotzdem mitten drin zu sein, das Durchleben der melancholischen Grundstimmung der Stadt.
Menschen wollen den Prozess der Auflösung festhalten, sie fotografieren, um sich zu erinnern. Doch wie sehen diese Bilder in unseren Erinnerungen aus? Welche Wahrnehmungsbilder entstehen in unseren Gedanken, sind sie hörbar und gleichen sie den fotografischen Bildern? Je seltener wir ein Erinnerungsbild in unserer Vorstellung aufrufen, umso unschärfer wird es. Auch die auditive Wahrnehmung ist in unseren Erinnerungen unscharf oder gar nicht mehr hörbar. Der Mensch selbst nimmt an dem Prozess der Auflösung teil.

instructions (in German)
leaflet (in German)
Über die Verhältnisse (up)

Das Internet ist in unseren Kulturkreis allgegenwärtig. Neueste Technologien ermöglichen uns permanenten Zugriff auf dort vorhandene Daten, zugleich gewähren wir durch die Nutzung dieser Technologien Zugriff auf uns selbst. Jeder hinterlässt einen digitalen footprint. Entweder, wenn persönliche Daten bewusst geteilt oder unbewusst zur Verfügung gestellt werden. Auch bei der alltäglichen Nutzung verschiedenster Dienste, die vermeintlich kostenlos sind, bezahlen wir mit unseren Daten. Dabei werden wir ausgespäht mit Hilfe von Profilen kategorisiert und so zu gläsernen Menschen, deren Daten lukrative Handelsware sind.
Molecular Machina · Workshop (up)

Molecular systems are very lively, exciting and at the same time artistically inspiring worlds. The mechanisms involved are found in all living things that we know so far. They ensure that vital processes can work, with enzymes playing a very special role.
The different types of enzymes were studied, tested as possible artistic tools and their motor skills simulated. The BRENDA database supports us as an additional tool for the development of an little algorithm of enzymes associated with our environment.

See also Molecular Machine these are the results of the workshop.

This workshops was supported by Frauenförderung Universität der Künste.
Sound Experiments (up)

Links (up)

About (up)

Kathrin Hunze

Kathrin Hunze studied Sound Design and Communication Design at the Hamburg University of Applied Sciences, and is a graduate of the Art and Media degree program at the Berlin University of the Arts. Hunze's works examine audiovisual media in complex systems in trans- and interdisciplinary contexts and combine analog and digital technologies as a critical artistic element.
Currently she is an Artist in Residence at the Institute for Electronic Music in Graz and pursuing her Meisterschüler (distinguished graduate) program of Art and Media at the Berlin University of the Arts. Her work has been exhibited internationally in Asia, Europe and the United States.


The artist collective KateHack (Kathrin Hunze & Thomas Hack) deals with themes at the interface of science and art. During their collaboration a special focus on artificial real time systems which embody interactions between living creatures and environments emerged. Their works analyse the boundaries and similarities of artificial and natural systems.

Thomas Hack has studied Theoretical Physics in Bonn and Hamburg, where he did his PhD. After being a Postdoc in Hamburg, Genoa and Leipzig, he specialised in Data Science and Machine Learning. Together with Kathrin Hunze he is pursuing generative projects at the interface of science and art.

Kathrin Hunze · CV

Awards ·

Excellence in the Application of New Technologies in Sound Art and Sound Design, Student Award 2016, klingt gut!symposium on sound

Project Funding ·

Promotion of Women University of Arts Berlin «Molecular Machina- Workshop»

Funding of the Presidium of the HAW Hamburg project "Eine Stadt verschwindet"

Fellowships ·

Deutschlandstipendium Bundesministerium Bildung und Forschung 2017-2019

Residencies and Research Projects ·

2019 „Artist in Residence“ Institute of Electronic Music and Acoustics-IEM Graz

2018/2019 Research Project "Plantisonics" with Prof. Dr. Alberto de Campo (Berlin University of the Arts) in collaboration with Museum für Naturkunde, Deutschlandfunk Kultur, Universität Bielefeld, DIALOG GEA, PLANT 2030

2017 Research for the Project "iPS Structures" at Prof. Dr. Martin Zenke's group in the Department Cell Biology of the RWTH Aachen/Uniklinik Aachen, Helmholtz Institute for Biomedical Technology

Education ·

Meisterschülerin Art and Media, Berlin University of the Arts 2020

Masters Course Art and Media, Berlin University of the Arts 2019

Bachelor of Arts Communication Design, Hamburg University of Applied Sciences 2016

Workshops ·

2019 Workshop Soundstack Queen Mary University
2019 VJ workshop at UdK, Nina Fischer Experimental Film Class
2019 Tutorial Computational Art Unity/SuperCollider
2018 Molecular Machina Workshop

Profession ·

2018/2019 University of the Arts Berlin, tutor for Generative Kunst / Computational Art, Prof. Dr. Alberto de Campo

2017 Berlin-Brandenburg Academy of Sciences and Humanities, student assistant, gene technology report

2015/2016 Hamburg University of Applied Sciences, student assistant, communication design

2014 Visual Designer for Artworks and Research Projects like Jessica Ekomane, Denovali Records, IFAF Berlin, BBAW Berlin, Junge Akademie Berlin

2010/2016 Denovali Festival, concept and organisation, Essen, London, Berlin

2005/2006 EcoSphere GmbH

Memberships ·

SciArt Initiative New York

The Society for Nontrivial Pursuits Berlin

Installations ·

2019 Molecular Machina - Value of Life , Installation republica19 Berlin, UdK Berlin

2019 Ctenoplastiphora
Hydrosphären, State Gallery Berlin, Westbund Art Center FutureLab Shanghai

2019 PlantiSonics, audiovisual-installation
Museum für Naturkunde Berlin, in collaboration with Deutschlandfunk Kultur

2018 Abstract Periphery, sound-installation, group exhibition,
Examining the edge, peripheries in the mind and in the city, Schloss Biesdorf Berlin

2018 ips-Structures II, digital print, “Infinite Potentials” SciArt Center exhibition at ArtCell (Cambridge, U.K.) and New York Hall of Science (New York City), in collaboration with the Cambridge Stem Cell Institute.

2018 System in a System, installation, Helmut Newton Museum Berlin

2018 DIA-LOGOS Ramon Llull and the ars combinatoria, The Society for Nontrivial Pursuits:
Alberto de Campo, Hannes Hölzl, Daniel Hromada, Arik Kofranek, ZKM Karlsruhe

2017 LAAC - Life As A Construct, Installation, Imaging and Interaction Group Exhibition, Lange Nacht der Wissenschaften- TU Bibliothek, University of Art Rundgang

2015/16 GEN I- eine audiovisuelle Auseinandersetzung mit dem genetischen Code- (An audiovisual analysis of the genetic code)
Exhibition of University University of Applied Science Hamburg; Klingt Gut! Symposium on Sound; Group Exhibition,Design Export; Exellence in the Application of New Technologies in Sound Art and Sound Design, Student Award 2016, klingt gut! klangsymposium

2015 Cookies - Über die Verhältnisse, (On the Circumstances) with Jascha Bela- Kreschmann, Jan Hansen, Benjamin Wiemann, critical analysis of social topics (group project)

2013/15. Eine Stadt verschwindet - Soundbook with Dr. Thomas Hack. Supported by the University of Applied Science Hamburg, Opening new Mediahouse Haw Hamburg,

2014 “Mutation und Rythmics” as part of the group exposition Reeper Reeper 2 at the Reeperbahnfestival Hamburg

2013/14 ePhil, das Foyer der Zukunft, Projekt HAW Hamburg, supported by the Körber-Foundation

2013 Dynamische Fragmente with Quirin Nebas. Kreaturen, Fabrik der Künste, Hamburg (group project), Interactive Installation

Performances ·

2019, Singularis, Silent Green Berlin, Strange Things

2019, Singularis Akaoda Berlin, UdK Berlin, Centre Pompidou Shanghai, Cafe ExtraTime Shanghai with Alberto de Campo, Hannes Hoelzl, Isak Han

2019, Plantisonics, Alberto de Campo, Museum für Naturkunde

2019, Deep Sea Performance, with The Society for Nontrivial Pursuits, CTM Festival Berlin

2018, The Society for Nontrivial Pursuits, Spektrum, Berlin, Deutschland

2018 Abstract Periphery, ‘Habitability Salon’
‘Examining the edge, peripheries in the mind and in the city’ Exhibition, Schloss Biesdorf Berlin

2018 Molecular Machina, with Kristen Cammack, Spektrum Berlin

2018 A Score of Abstraction, The Society for Nontrivial Pursuits, with Haye Heerten, Alberto de Campo, Hannes Hölz, Lucas Mair, CTM Vorspiel, Vilém Flusser Archive

2017 Surveillance Suite, The Society for Nontrivial Pursuits, with Alberto de Campo, Haye Heerten

2017 GEN II, SKOP • Experimental music and art in an interdisciplinary context, Frankfurt

2017 Constructs- Experimental Soundscape, Banana Rot, Galerie Äuglein

2017 Lonely Land - Audiovisual Performance with Mengxuan Sun, Hannah Greifenstein, Dan Dansen, The Society for Nontrivial Pursuits, Spektrum Berlin

2017 Lonely Land - Audiovisual Performance with Mengxuan Sun, Hannah Greifenstein, Elysium Art and Musik Festival, Novilla International Centrum for Art, University of Art Rundgang

2017 The Society for Nontrivial Pursuits - Network Sessions, Savvy Funk Radio, documenta 14

2017 One Room - Audiovisual Performance with Mengxuan Sun, New Synagoga Zilina , Slovakia

2016 Error Error - Performance with Phillip Treschan, The Society for Nontrivial Pursuits, Spektrum Berlin

2015 “A Lamb and a Lion” Audiovisual Performance with Chiara Kramer and Stefan Troschka Central Congress, Hamburg

2015 Audiovisual Performance as part of the group UVA with Jazzband Urban Acadamy Quartet, Hamburg

2014 UVA + KiRRiN iSLAND - Visual Art Performance, Kraniche Club, Hamburg

Exhibition Design ·

2018 Examining the edge, group exhibtion, Schloss Biesdorf Berlin

2018 Bildräume: Biologie und Bauen, exhibition concept, design and production

2016 Call Me, exhibition concept, Designxport Hamburg

2015 ZEHN (TEN), special exhibit concept, design and production, 10 years of Reeperbahn Festival

2013 Interactive Installation for experimental music. Denovali Festival Essen