Selected works
Minimal Hospital (left)
Illumination (right)
Inkjet on 310g paper mounted on aluminium, 86 cm × 160 cm
2026
Systematic ruins of history 1-5 (below)
Sculpture in 5 parts
Bricks, concrete, mortar paper, oil, 23 cm x 50 cm
2026
Installation view at Odense Central Library (Odense Hovedbibliotek), Denmark, shown during the exhibition 𝐒𝐔𝐒𝐏𝐄𝐍𝐃𝐄𝐃 𝐅𝐎𝐑𝐌𝐒 & 𝐒𝐏𝐀𝐂𝐄𝐒.
𝐒𝐔𝐒𝐏𝐄𝐍𝐃𝐄𝐃 𝐅𝐎𝐑𝐌𝐒 & 𝐒𝐏𝐀𝐂𝐄𝐒 is an exhibition in two parts.
The first part, 𝐒𝐔𝐒𝐏𝐄𝐍𝐃𝐄𝐃 𝐅𝐎𝐑𝐌𝐒 & 𝐒𝐏𝐀𝐂𝐄𝐒 𝐈, takes place at Odense Central Library.
The second part, 𝐒𝐔𝐒𝐏𝐄𝐍𝐃𝐄𝐃 𝐅𝐎𝐑𝐌𝐒 & 𝐒𝐏𝐀𝐂𝐄𝐒 𝐈𝐈, takes place at DOKK1 in October 2026.
Minimal Hospital (left)
Illumination (right)
Inkjet on 310g paper mounted on aluminium, 86 cm × 160 cm
2026
Systematic ruins of history 1-5 (below)
Sculpture in 5 parts
Bricks, concrete, mortar paper, oil, 23 cm x 50 cm
2026
Installation view at Odense Central Library (Odense Hovedbibliotek), Denmark, shown during the exhibition 𝐒𝐔𝐒𝐏𝐄𝐍𝐃𝐄𝐃 𝐅𝐎𝐑𝐌𝐒 & 𝐒𝐏𝐀𝐂𝐄𝐒.
𝐒𝐔𝐒𝐏𝐄𝐍𝐃𝐄𝐃 𝐅𝐎𝐑𝐌𝐒 & 𝐒𝐏𝐀𝐂𝐄𝐒 is an exhibition in two parts.
The first part, 𝐒𝐔𝐒𝐏𝐄𝐍𝐃𝐄𝐃 𝐅𝐎𝐑𝐌𝐒 & 𝐒𝐏𝐀𝐂𝐄𝐒 𝐈, takes place at Odense Central Library.
The second part, 𝐒𝐔𝐒𝐏𝐄𝐍𝐃𝐄𝐃 𝐅𝐎𝐑𝐌𝐒 & 𝐒𝐏𝐀𝐂𝐄𝐒 𝐈𝐈, takes place at DOKK1 in October 2026.
Minimal Hospital (left)
Illumination (right)
Inkjet on 310g paper mounted on aluminium, 86 cm × 160 cm
2026
Installation view at Odense Central Library (Odense Hovedbibliotek), Denmark, shown during the exhibition 𝐒𝐔𝐒𝐏𝐄𝐍𝐃𝐄𝐃 𝐅𝐎𝐑𝐌𝐒 & 𝐒𝐏𝐀𝐂𝐄𝐒.
𝐒𝐔𝐒𝐏𝐄𝐍𝐃𝐄𝐃 𝐅𝐎𝐑𝐌𝐒 & 𝐒𝐏𝐀𝐂𝐄𝐒 is an exhibition in two parts.
The first part, 𝐒𝐔𝐒𝐏𝐄𝐍𝐃𝐄𝐃 𝐅𝐎𝐑𝐌𝐒 & 𝐒𝐏𝐀𝐂𝐄𝐒 𝐈, takes place at Odense Central Library.
The second part, 𝐒𝐔𝐒𝐏𝐄𝐍𝐃𝐄𝐃 𝐅𝐎𝐑𝐌𝐒 & 𝐒𝐏𝐀𝐂𝐄𝐒 𝐈𝐈, takes place at DOKK1 in October 2026.
Systematic ruins of history 1-5 (detail)
Sculpture in 5 parts
Bricks, concrete, mortar paper, oil, 23 cm x 50 cm
2026
Installation view at Odense Central Library (Odense Hovedbibliotek), Denmark, shown during the exhibition 𝐒𝐔𝐒𝐏𝐄𝐍𝐃𝐄𝐃 𝐅𝐎𝐑𝐌𝐒 & 𝐒𝐏𝐀𝐂𝐄𝐒.
𝐒𝐔𝐒𝐏𝐄𝐍𝐃𝐄𝐃 𝐅𝐎𝐑𝐌𝐒 & 𝐒𝐏𝐀𝐂𝐄𝐒 is an exhibition in two parts.
The first part, 𝐒𝐔𝐒𝐏𝐄𝐍𝐃𝐄𝐃 𝐅𝐎𝐑𝐌𝐒 & 𝐒𝐏𝐀𝐂𝐄𝐒 𝐈, takes place at Odense Central Library.
The second part, 𝐒𝐔𝐒𝐏𝐄𝐍𝐃𝐄𝐃 𝐅𝐎𝐑𝐌𝐒 & 𝐒𝐏𝐀𝐂𝐄𝐒 𝐈𝐈, takes place at DOKK1 in October 2026.
Immediacy, or the end of physicality
Video, 1 min, 4K, 243 cm x 137 cm
2026
Installation view at Odense Central Library (Odense Hovedbibliotek), Denmark, shown during the exhibition 𝐒𝐔𝐒𝐏𝐄𝐍𝐃𝐄𝐃 𝐅𝐎𝐑𝐌𝐒 & 𝐒𝐏𝐀𝐂𝐄𝐒.
𝐒𝐔𝐒𝐏𝐄𝐍𝐃𝐄𝐃 𝐅𝐎𝐑𝐌𝐒 & 𝐒𝐏𝐀𝐂𝐄𝐒 is an exhibition in two parts.
The first part, 𝐒𝐔𝐒𝐏𝐄𝐍𝐃𝐄𝐃 𝐅𝐎𝐑𝐌𝐒 & 𝐒𝐏𝐀𝐂𝐄𝐒 𝐈, takes place at Odense Central Library.
The second part, 𝐒𝐔𝐒𝐏𝐄𝐍𝐃𝐄𝐃 𝐅𝐎𝐑𝐌𝐒 & 𝐒𝐏𝐀𝐂𝐄𝐒 𝐈𝐈, takes place at DOKK1 in October 2026.
The Man Without Qualities
2024
Installation view at Shoreditch Arts Club, solo exhibition, London
The Man Without Qualities, uses Robert Musil’s unfinished novel of the same name as a vehicle for exploring contemporary sensibilities. The incomplete nature of Musil’s work was central for the creation of this piece, using the fragmented and the ruinous as the aesthetic and creative premise. It counts a total seven characters, all variations over the one protagonist, Ulrich, of the novel. Through allegories and allusions, the work explores the current condition of human culture, the instabilities of individual and collective identities, as well as the totalization of ideological space.
It was presented as a video installation and performance piece at Shoreditch Arts Club, London, in the spring of 2024.
The Man Without Qualities
2024
Installation view at Shoreditch Arts Club, solo exhibition, London
The Man Without Qualities
2024
Still from The Man Without Qualities
Video triptych, 24:53 min. 4K, 2023
The Man Without Qualities
2024
Still from The Man Without Qualities
Video triptych, 24:53 min. 4K, 2023
The Man Without Qualities
2024
Installation view at Shoreditch Arts Club, solo exhibition, London
Performance documented by Pete Spanjer
Temps mort – à la mémoire des victimes du Covid-19 / Time out - in memory of the victims of Covid-19
2022/2023
Installation view at Goldsmiths, University of London 2023
Temps mort / á la mémoire des victimes du Covid-19 - Time out, in memory of the victims of
Covid-19
This work consists of a transcription of the names of victims who died from Covid-19 who had
given consent for their names to be published. In total, there are over 80,000 names.
It took me over 3,500 hours to complete this work, amounting to over 18 hours of work every day for an entire year between 2022-2023.
Link to extract of the video documentation: https://youtu.be/r7_v7BXUdls
Link to the entire documentation: https://youtu.be/eUBakHRu3t4
7 panels 180x90 cm
Typewritten on Japanese woshi long fibred koshi and gongi paper 2022-2023
Video documentation: 10 min.
Temps mort – à la mémoire des victimes du Covid-19 / Time out - in memory of the victims of Covid-19
2022/2023
Installation view at Goldsmiths, University of London
Temps mort / á la mémoire des victimes du Covid-19 - Time out, in memory of the victims of
Covid-19
Temps mort – à la mémoire des victimes du Covid-19 / Time out - in memory of the victims of Covid-19
2022/2023
Installation view at Goldsmiths, University of London
Temps mort / á la mémoire des victimes du Covid-19 - Time out, in memory of the victims of
Covid-19
Temps mort – à la mémoire des victimes du Covid-19 / Time out - in memory of the victims of Covid-19
2022/2023
Installation view at Goldsmiths, University of London
Temps mort / á la mémoire des victimes du Covid-19 - Time out, in memory of the victims of
Covid-19
Temps mort – à la mémoire des victimes du Covid-19 / Time out - in memory of the victims of Covid-19
2022/2023
Installation view at Goldsmiths, University of London
Temps mort / á la mémoire des victimes du Covid-19 - Time out, in memory of the victims of
Covid-19
Temps mort – à la mémoire des victimes du Covid-19 / Time out - in memory of the victims of Covid-19
2022/2023
Installation view at Goldsmiths, University of London
Temps mort / á la mémoire des victimes du Covid-19 - Time out, in memory of the victims of
Covid-19
The Unknown Photographer, Learning from the archive was presented as a performative lecture at the Moving Center Literary Festival in Amsterdam 2024. Drawing from the writings by feminist geographer Gillian Rose, philosopher Peter Osborne, scholar Maria Ludovica Santini and Professor James E. Young’s writings on after-images in Contemporary Art, I produced a video work that responded critically to the visual ideology in the archive with which I was working. I bought the archive in a thrift store in Berlin 2022, no biographical details were given in it. It displayed an obsession with landscapes and power.
Along with the video work juxtaposing the archival material and my response to it, I wrote a lecture criticizing and contextualizing the unknown photographer’s obsession with power and beauty.
