'Das Licht geht vor der Sonne auf'  is an environment that deals with the structural, political and material conditions of movement, visibility and memory. At the center is the reconstruction of my wooden birth house. Originally reconstructed from wood, later molded, cast and reinforced,9 construals,massive bodies, the complete number of the windowframes are floating on the floor, they are washed up fragments of an inner logic of displacement, loss and arrangement in memory. Brutalism and the horizontal Siberian urban space had a profound impact on my perception of space, the public sphere and movement; Soviet urban planning promised efficiency and progress through rapid housing construction, but was an expression of an ideology, political control, standardization and patriarchal power that continues to have an effect to the present day. For me, it stands for the visibility of this order in built form, in monuments, repetition, grid structures and series. The transformation of wood into concrete refers to structural imprinting through material, order and power. The window frames are formal settings that deal with architecture as a carrier of political systems and with the question of how these systems inscribe themselves in bodies, memory and movement. The window is isolated with aluminum. Two set slits direct the light onto the concrete bodies and create a camera obscura, which captures the movements of the outside space through the reflection of the moving windows of passing trains on the opposite bridge; these movements are projected onto the walls. Recycled aluminum is often found in Siberian urban spaces as a temporary building material that simultaneously reflects and absorbs light. In my work it refers to provisional forms of visibility and protection. A music box from my archive, which stands in the lower slot, contains a photograph of my birth house. These elements form a spatial structure in which light becomes a connecting condition; it creates visibility,transparency and transitions, but remains bound to conditions. 📸@tunich_gut 4,@ard.elle

Expanded 'Das Licht geht vor der Sonne auf (Narva-Jõesuu)' Schadowstr. 01.09-30.9, 16min Thank you to everyone who was there🌹 Thank you to Ljiljana Radlovic for inviting me and @tillbdkr  for technical support and documentation

siberian brutalism @kunstbunker_nuernberg @institutfurmodernekunst Fotos von @lukaspuermayr vielen Dank! Größter Dank an @evakliesch & @rusa_morke für die schöne Zeit mit euch & @sophiamagdalenaanna 💜 shrooms @ghislaineleung #katharinakeller

🌖 1999 JP Gaultier @malalla.archive

Exzerpt Das Licht geht vor der Sonne auf (Narva-Jõesuu), 2025, Video 4k(Farbe, Ton)/Video 4k(color, sound), 18,30 min Den Film Das Licht geht vor der Sonne auf (Narva-Jõesuu) habe ich in Narva-Jõesuu an der estnisch-russischen Grenze gedreht. Dieser Ort steht mit einer der ersten Ausbildungsfahrten meines Vaters in Verbindung. Er wurde Seefahrer, ein weitesgehend selbstbestimmter Weg zu Zeiten des eisernen Vorhangs, bis zu dem Moment, in dem ein Schiffsbrand diese Bewegung unterbrach. Der Film verknüpft biographische mit politischer und kollektiver Wirklichkeit, mit Zwangsumsiedlungen, Enklaven, Migration und dem Fortbestehen ideologischer und räumlicher Trennlinien über Generationen hinweg. Deepest gratitude to Editing advice: Daniela Kinateder, Marcel Odenbach Sound Design: Volker Hennes

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polar archive 🕳️ #northernlights

In Febuary my work was part of „re:traces“, at Strausberger Platz 8-9, 10243 Berlin, a group exhibition with works by Marta Dyachenko, Maren Karlson, Katharina Keller, Gerhard Richter, Andreas Rost, Șerban Savu, and Maximilian Schröder, curated by Jil Gieleßen Thank you @jilgielessen @schroeder_maximilian @krullstiftung 📸@schroeder_maximilian