CV
WORK EXPERIENCES
since june 2020
Institute for the History of Medicine and Ethics in the Medicine, Charité – University of Medicine
research assistant in the field of archive,
long term preservation & data management
since august 2018
neugerriemschneider - gallery for contemporary art
head of archive and preservation for contemporary art
september 2017 - april 2018
Universalmuseum Joanneum, Multimedia Collections, Graz - Austria
1. creating a concept for analog safety copies of cellulose nitrate and acetate sheet film collection 2. conservation/digitalization of 3000 glass plates of Fotoatelier Franz Josef Böhm for the exhibition Peter Rosegger - Waldheimat und Weltwandel
october 2017 - march 2018
organizing the Training Programme for Syrien
and Lebanese Museum Staff on Preventive Conservation:
Emergency Response Techniques for Museums and Collections
HTW-Berlin & UNESCO Field Office Beirut
march - june 2017
Secret State Archives Prussian Cultural Heritage Foundation,
Berlin - Germany
january 2017
Folkwang University of Arts, Essen - Germany
Guest lecturer in the Department of Photography (BA) about the ethics in conservation and restoration of photographic art works.
october 2014 - april 2017
Department of History of Medicine and Ethics in the
Medicine - Charité, Berlin - Germany
Setting the digital archive of medical files of the Psychiatric Department of the Charité 19th/20th century & user services.
august 2015:
Centre National de l´Audiovisuel, Luxembourg
Developing a concept for infiltration gluing with gelatin for
broken glass plate negatives.
spring 2014:
Deutsche Kinemathek - Museum für Film und Fernsehen,
Berlin -Germany
Internship in the photographic archive.
spring 2012:
Schwules Museum* e.V., Germany
Internship in the photographic archive: Setting up the touring exhibition “Aufklärung und Aufregung”, an exhibition about the teen magazine BRAVO and reclaim two photographical heritages.
artist statement
TALKS
may 2019:
A current practically oriented manual for digitizing photographic negative collections and producing analogue safety copies
Archiving 2019 - Digitization Preservation and Access,
Lisbon, PRT
october 2019:
Artworks from the Digital Era in Galleries and Museums
Between Creation and Preservation – the position of a gallery in saving multimedia art for the future
Vasulka Kitchen Brno, CZ
EDUCATION + TRAVELLING
september 2015 - may 2016:
Master of Culture and Arts, Entrepreneur
NOVIA University of Applied Science,
Jakobstadt (Finland)
october 2014 - summer 2018:
BA Restoration / Conservation of
Audiovisual and Photographic Heritage
University of Applied Science HTW-Berlin,
Berlin (Germany)
september 2012 - may 2013:
Darmasiswa Fellowship:
Indonesian Language & Culture, Photography
University Kristen Petra, Surabaya (Indonesia)
october 2008 - july 2011:
BA Communications Design / Photography
Muthesius School of Art and Design, Kiel (Germany)
september 2009 - june 2010:
Erasmus in Fotokonst / Medianom
NOVIA Yrkeshögskolan, Nykarleby (Finland)
My artistic work has two main sources, both include traveling - physically or through researches in archives into the past.
I travel physically a lot and live with people from for me unknown cultures which enables me to get a better understanding of them.
The cultures I live in influence my work. I use traditional handicraft, materials, traditional fairy tales and images. I also include people from the places I visit in my projects and perform with them together.
The cultural memory is the second place where I like to dive into. Through researches in archives and sorting heritages from me unknown people I try to bring more personal history into historical facts. I do not meet people, I only go through their belongings, through objects that someone kept and with the help of those I try to recreate and understand the owners world. But I can't be sure that I do it the right way, I always create my own fantasy land with documents, which I select, reuse and duplicate.
The presented work is always an object which can be touched, moved and put aside. The one who is looking at my work should see what it is made of, why and how. He needs to be able to retrace the process of an artwork. Important to me is to give the viewer a starting point of exploring other worlds, worlds which I got to known physically, by traveling or mentally by researching. To be able to explore, it is important to me that the consumer is allowed to use his body for diving into a different world - it needs physical work before the mental process can start (as it was for me: I started traveling around the world and a few years later I started working in archives).
I am working with my hands like a goldsmith does with his - it is important to me to really feel the object I create. Most of my art is done using analogue techniques, for example I shoot photos on film and I bind books by myself. Every step within the process is time-consuming, which I especially enjoy since it gives me a certain distance to the created piece.
At the end I am working with perception of people, I want them to come out of their comfort zone and explore. What makes it to an interesting game for me is - how much power I have about controlling reactions of the viewer through controlling the world I create.