Takes place



crisp sky

yellow sun

wind is lingering along the beaten path, in thought, disassociated from the cities organization of life and material

attempting to think the unthought route, through the gap, back in time




:this is not my world



For distraction gathering up some land-dust, speaking to it as if animate



:where to put you



Looking closer at the options



:there’s traces of bad history here and there, making a point in being bulky, inert things that know their incompleteness

that are foreseeing the coming as another day held in place by potentially being of dramatic importance


there’s eaten alive offshoots in hotbeds, conduits providing water, rivers blasting through some underground

reproductive scenes


there’s building sites, buildings in the making, on top of it all



Pausing, trying to think a place that knows no difference between old and new



:I think of myself as a lover of the park. Me in the park is like a dog in the park



Squeaking inwardly like it all having been there always, waiting to be picked up, like warm convenience, like a shirt ironed seconds ago


realizing that the dust needs context



:you need a job as long there is vacancy. Get a life. Take the train. Many things happen on the train

I mean it is important to participate



Assuming a stable structure of common values pointing towards ideal condition, then strangely eager

wind to itself



:you yourself should step forward



Feeling entitled while the likelihood of this being inappropriate is lurking in some background



:to all unacknowledged organisms actually out there



No one listens to the wind



:I’m talking to dust



Dust, unskillfully summing up its intention to participate, yet to understand the above mentioned on its own terms






Wind, quite shocked



:did you hear all this ?



Dust, having already left the winds stream

to itself



:when time does tidy I will be in peace. No shape, no land

Turn into say

some dough


my favorite day


so I exited

so in my mind

the dainty fingers

handshake with no vigor

immersed me

or I immersed

oh I don’t know


no no

don’t dwell


peculiar and far

literally senseless

ridiculously fuzzy


literally senseless

must resist to conquer


under the impression

gonna go lumpy

man made history

a special place for sympathy





In other words

for what was kindly called

a long delay

of what’s kindly called

oh I don’t know

no boss wants

no thing

and yes

the trade

was made


no deal


no no

don’t dwell


peculiar and far

literally senseless

ridiculously fuzzy


literally senseless

must resist to conquer


under the condition

gonna go lumpy

late state fluidity

of maniffould identity





Sassy pattern

chunky panorama


is ugh


is ugh so high



lacking reference

hence you have a face


to otherwise


no no

don’t dwell


peculiar and far

literally senseless

ridiculously fuzzy


literally senseless

must resist to conquer


under the condition

under the impression

gonna go lumpy

gonna go lumpy

no no

don’t dwell


peculiar and far

literally senseless

ridiculously fuzzy


literally senseless

must resist to conquer

It is a certain level of trust that I'm thankful for

presence comes from present

authority from distance


Keeping those proportions constant this is a proposal for a film called A Misunderstood Century that as protagonists introduces a set-up of four typed characters portrayed by individuals casted in Tokyo and Berlin on mornings that bear a certain clarity


This will be


Two young Tokyo Street Fashion Victims who in their theatricality of theatricality are paralleling the following



an understanding of identity as in transition more than less

self as solid

euphoria for changeover



And two middle-aged punks from Berlin who in their theatricality of anti-theatricality are paralleling the following



a binding neutrality of the notion of ones embeddedness in historical circumstance

resignation of aspiration

greater adventure



Contemplating the definitions of belonging to and longing for as routine or mere fiction, the protagonists will with their expressiveness in style, peaking performance of interiority, way of life, suggest a responsiveness of category within boundless happenstance.


After having been casted they will arrive in New York. The search for a suitable setting for the film followed a fascination for historical interior design of the era of the Second Industrial Revolution- also called Gilded Age. From 1877 to about 1900, the Gilded Age describes the rise of an elite society- people that by grooving in with industrialization made it to extreme wealth. The interiors of their households and private social clubs then were largely influenced by the designers of the Aesthetic Movement. The eras predominant ideal of progressiveness, on the one hand seems to be contradictory to the households interiors shapeliness, on the other hand incorporates an aestheticism as necessary consequence of moral sophistication, a private sphere in opposition to an economic complexity, a coarsening outside. These interiors, their organization and stillness, will be employed as backdrop within which the epochs resonating impact, their intertwined notions of artistry and social life collide with the characters’ appearance. The resultant density leaves no space between notions of endeavor and despair.


The protagonists- despite all determinisms brought with them and layered around them- will sit to talk. Tacit reciprocity; lacking the ability to articulate and with that articulating something beyond its recognition as lack; having no dialogue in a language which is none to frame non-descriptive content and doesn’t present futurity as necessary narrative consequence of present tense; silently reconsidering e.g. the mechanism which makes it possible to shut doors without greater effort. No voice to reveal drama behind drama.


There will be a heavy dependence on a knowledge of what is likely to be said. The atmo- instrumental interpretations of common-ground-morality-songs mixed with new-romanticist lyrics in such high pitch that one cannot understand a word- will only suggest that someone is addressed retroactively.


Possible filming locations for the gathering of the four individuals are reading halls or bigger lounges. A certain vastness of the room is important to keep a distance to the details of the singular interior objects and their function. This is to secure the audiences relative secludedness from the scenery itself. Only the characters provide the viewer with access to a somehow alien culture. They will be shown in 'Profil Perdu‘-a profile in which the subject is more than half turned away from the onlooker- and swallowed by the weirdness of the interiors visual hermeticism. Since there is no facial confrontation, sympathies will remain unformulated and unresolved.


The film will become an introspection that remains self-reflexively static in its inefficiency to provide voice. The camera will reflect that by being itself static while on the other side emphasize films promise of a just-about-to-happen as erring within unknown eventfulness on exclusive territory. After some minutes the surface tension of filmed still image gets stirred by a minimal movement of the camera adding a suggestion of a narration; It is a light headedness, a slight slump interfering the otherwise pending. I would like to keep the interpretation of this movement open to be one of the following



Loss of posture in a moment of apathy

The effect of imposed dormancy

The consequence of sweet idleness



After the camera has moved it will recover and return to a static position while continuing to film



Wetter fur to be laid upon an apparatus that won't take it easy

whose larpy volition interrupts the drum circles fervour

signals that cannot compare with the great diversity of pictorial essays about the agrarian ages early farmers body poses implying sexual activity or doubt

General stretching in preparation for dance interlude

laid down silk scarves form a pattern no definition for that pattern but everything valid

pretty standard dramaturgic decisions like fully costumed reenactment of some present tense scenario dedicated to people flow and anxiety x y gameplay

music is mostly bass drops lyrics hardly audible dealing with modernity or relationships refrain goes like but they didn't








untrained muscle flexed a foot leaves the ground

abrupt stop shaking long hair not really moving the head









four plain straight steps forwards backward sideways

abrupt stop utmost unpretentious wink blends into yawn









sedate and dignified dancing

abrupt stop unassuming face








peculiar leaping step

abrupt stop sugared drool instantly collects dust


Untitled (Prelude for Questions of expertise), 3:48min, 2017

Part of Now, How? @ Decad, Berlin





Denying the Inflammability of the Twigs Found in the Copse This Morning, 2017

An installation and screening with video works by Luzie Meyer, Nikhil Vettukattil, Shaun Motsi and Cornelia Herfurtner

@ 3236, London




Untitled (Song), 2017

In Puffy Grip Logic, published by TLTRPreß











































































































Untitled (Rehearsal), 2017

Part of Mnemonic Memories @ Minibar, Stockholm





Untitled (Tendency), 4:24min, 2017

Voice: Gina Henkel

Part of Chambers A User’s Manual – Chapter II @ Villa Metzlerstraße 21, Frankfurt am Main





Upset Sand Land, 2016

Press release for Brachland @ W139, Amsterdam





































































































In Compensation of the Platonic Courtyard Whisper, 2016

Readings by Jack Brennan, Matilda Tjäder, Vera Karlsson and Lian Rangkuty






Proposal for a Misunderstood Century, 2016

Part of Processed Beings @ Transart Triennale, Berlin





























































































Untitled audio piece, 4:28min, 2016

Collaboration with Matilda Tjäder

Voice: Gina Henkel

Part of Lascivious Stories or the 72hrs Radio Broadcast









Untitled (Scene), 2016

















































Big Day Out (Déjà Vu), 5:29min, 2016

Voice: Gina Henkel

Part of Unveiling (you embrace me, as I am) @ Jupiter Woods, London





Felix Riemann, Marco Spörle, Tobias Willmann, 2016

@ Garret Grimoire, Vienna





Felix Riemann & Samuel Jeffery, 2016

@ LD50, London





Untitled (Song), 2015

























































































I Feel Extreme, Man, 2014

Collaboration with Ellie de Verdier

@ The Duck, Berlin





Untitled (Scenario), 2014
















































Untitled (Interlude), 2014

In Good Times & Nocturnal News #3

























































Untitled (Dialogue), 2014

















Beach Buddha, 2014

In Dysfiction Issue 1, published by Pure Fiction















Pour Some, audio piece and text, 2014

In General Fine Arts Issue 3, vol. 1, published by Version House






















































































After show roaming on fields covered with plants that border the harmful

the more time spend on that field the higher is the chance of rashes

this is generally difficult to predict as nature sometimes loves being


In acknowledgment of a potential corruptness of the crop the group silently begins to formulate an ambiguous critique

unresolved like melodic ‘huh huh‘ as being touched by mind thought driving roundabout some body street for days and nights


soon swaying to and fro in crescendoing murmur


info sloppily hid more deep groans

placed beforehand casually to be rediscovered


focus on an eager figure somehow central to the dynamic


speaks up:


it's easy

things we want to see growing is kids

things we don’t want to see growing is cancer


Other voices now flickering in the background slowly replacing the approved with an equally tempting adequacy of vague insight through determinately sharp whisper


guess it goes:


cranky man

man in public

closing doors gently

you’re still empty



soon the speaker was removed from the scene

to then return heroically sobered

unbreaking hearts

Haunting yet soothing




:decomposing lime

whenever I see you

I do not just only stare


its not too late


where can we go

to forget





refrain squeezed through smug smile





:world is a junkyard giddy giddy giddy thing totally free cruising fortune slot machine





voice finds itself kind of sweet




:oo oo ooo a aaa a pologetic face








bright voice of an angel unnerving





:brown lime brain

how could I have seen you

I only stared


its too late


where can we go

to forget





refrain squeezed through smug smile





:world is a junkyard giddy giddy giddy thing totally free cruising fortune slot machine





voice finds itself less sweet





:oo oo ooo a aaa a pologetic face

Cave like scenario cave people all around
















leap from performative nakedness to nakedness with thermonecks

resembling the deliberate aspect of the look of a light-colored dog with a reddish ruffle








loads of double-talk









now again like wilderness the whole group doe-eyed prospective

conspiring to develop some spoken miracle or good reason

:which there isn't




:why insist

:Life s good to you m'lady?




pouring some

pours it over cloth and table everything




:am I overdoing it

I think I'm quite overdoing it




almost calm voice

huffish still genteel




:leave it




rolls from one side to the other

complacently murmuring still audible




:last night I slept in a goose-feather bed

the sheets turned down so bravely

can't really tell what happened

it seemed I had sold alt some delete a butcher some meat

as if it happened




weird peace



:as I woke up things have changed in that particular order

nada instead of prada




different sounding



:I will get five geese

give them names

daisy or mercutia or rodney

I'm afraid they wont fly though no plot no gravity




like really dealing with it




:like there would be something to deal with

like credit to waste

like joyful