Open the Night (Workshops)


Open the Night returns as a workshop during two evening events this summer in the context of Kiezlabor’s 2024 tour of Berlin districts:

1. Richter-Platz in Gropiusstadt
29.05.2024, 20:00 - 21:30

2. HTW in Lichtenberg
05.06.2024, 20:30 - 22:00

Workshop spaces are free but limited. You can sign up for the first workshop in Gropius Stadt here.

Open the Night is a soundwalk addressing the topic of light pollution. The narrative is created by moths who speak to the listener about their nightly experiences around street lamps in Berlin. The experience uses geospatial audio technology via the mobile app Echoes. This technology activates sounds when a GPS device (a mobile phone held by you, the visitor) enters a specific zone. You will therefore need a smartphone or iPhone to participate in this artwork, to be able to download the Echoes app. For hearing people, please also bring a set of headphones.

What can You expect?

An introduction to light pollution and urban ecologies by me (in English with German translation). A site-specific, multi-channel sound walk lasting around 20-40mins, depending upon your engagement. An open discussion and sharing round at the end with snacks and refreshments.
©Izzy Dempsey

Magazin für Designwissenschaften


I’m pleased to have contributed to the 10th annual issue of Neuwerk Magazin, from the Design department of Burg Giebichenstein Kunsthochschule Halle, with my essay The Moth in Me (and in Steve). Issue #10 of Neuwerk is focussed on the topic of Blackout:

‘With this year’s edition of Neuwerk, we propose a thematic focus on blackouts in order to examine economic, political, social, psychological and narrative processes of late capitalist and postcolonial societies. As events that unsettle established routines, blackouts make conditions of the everyday visible in a specific way and allow a deeper look at those structures. The multidisciplinary contributions that come together in this edition pay attention to spaces of imagination and action that point beyond euro- and anthropocentric traditions of design and thought, communicating between themselves and between the many lines about possible futures.’
- Elsa Westreicher, Co-Founder and Editor of Neuwerk

Issue #10 launches on the 7th of May, 18:00, at Burg Giebichenstein with a release party.

Ana Henriques
Benedikt Schich
Bettina Nagler & Elias Erkan
Emma Louise Meyer
Jeremy Knowles
Junior Mvunzi
Lukas Schilling
Sebastian Wanke
Serge Matuta
Yuni Chung

©Neuwerk Magazin. Photo: Maja Nacke, Laura Schnieber, Lesya Kuranova

Residency Update
Co-Making Matters


My residency at the Co-Making Matters container is coming to an end.

I’ve spent the past few days walking in the area surrounding Haus der Statistik as part of the urban plant-finding mission I set myself at the beginning of the week, and it turns out that there are far more species than I had originally expected. I’m a little blown away by the plant diversity in Mitte, honestly. The process has allowed me to get that ‘holiday’ feeling, even though I’m no stranger to Berlin. Still, I’ve felt like a newbie here along my plant walks. Perhaps it’s because my mission determined how I walked - no longer governed by my need to get somewhere, travel directly, or move efficiently, but to keep an eye out for plant life.

Whenever it rained, I returned to the container to print photos of the plants I came across and details about their origin and uses.
Local plant prints and research, Co-Making Matters, Haus der Statistik

Co-Making Matters


I spent my first day in the Co-Making Matters container walking around the construction site that is currently Haus der Statistik to survey the local plant life. I was able to recognise some of the plants myself, as we have also them in the UK, whilst others I needed to look up. I identified thirty different species along the way, including:

Rush skeletonweed, smooth hawksbeard, meadow grass, wild rocket, clovers, wormwood, knapweed, mugwort, yarrow, alfalfa, dandelions, silverweed, Japanese quince, rhododendron, cherry plum, burdock, red elderberry, nettles, and honeylocust.

Observing how much plant diversity is right in the city's centre is fascinating. So many plants we classify as weeds can just as equally be viewed as urban survival specialists, depending upon which perspective you choose to take. Weeds, grasses, bushes, shrubs, and trees provide microhabitats for other life forms. Insects, birds, and fungi (and many more I know nothing about) make-do and get by just fine in Mitte whilst the human traffic of Berlin whizzes by.
Collecting urban survival specialists, Co-Making Matters, Haus der Statistik

Walking Residency
Co-Making Matters


After a few weeks at home in Lichtenberg spent working on research and writing-based tasks, I’m relieved to have an excuse to get my legs moving again!

Over the next week, I’ll be setting up camp at Co-Making Matters, located at Haus der Statistik, Berlin, for a residency dedicated to walking. My time in the container is in the framework of a walking residency facilitated by The ReRouting Project. I’ll be using the residency time to study the urban plant life surrounding Haus der Statistik - namely Alexanderplatz and the connecting streets. My aim is to challenge two assumptions I often make, subconsciously, about the retail centre of Berlin that is Alex: firstly, that there’s limited access to nature, and secondly that no one goes there simply to take a walk.

Walking has always been an important part of my projects. The history of walking inspires me, for sure. Yet, what I find the most fascinating about walking is that this simple act connects so many facets of being human. Having grown up in the countryside in the UK, with the luxury of having our hard-fought yet increasingly endangered British ‘right to roam’ laws at my disposal, city life has since become a topic in and of itself. There are so many barriers to walking in cities, yet these same barriers also provide challenges for city inhabitants to overcome.

Walking feeds into my practice in obvious ways, for example in my ongoing photography series 8am Walks, in which I document my morning walks through Berlin with a camera. In other projects, walking is how I create movement, interaction, participation, and chance encounters.

More updates to follow.
 Thermal image of my leg

Disruptions in D Minor
Radiant Opacity


Thanks to everyone who made it to Radiant Opacity at Kunsthalle am Hamburger Platz last week and experienced my contribution to the exhibition: Disruptions in D Minor.

Disruptions in D Minor is composed, through one of the two channels, of field recordings of explosions and tractor horns from the mass agricultural strikes that took place outside of the EU summit in Brussels in January 2024. The other channel uses sections of a recording of Ode to Joy from the fourth and final movement of Beethoven’s 9th Symphony; the official anthem of the EU. Each source is slowed down by a rate of approximately 12,000% so that seconds and milliseconds of sound become minutes. Through this expansion of time, the principal disruptive quality of the explosions and horns is subverted and nullified. Conversely, the brief orchestral sequences from Ode to Joy – music adopted by the EU to convey ‘the ideals of freedom, peace and solidarity’ – are drawn-out and unsettling. As such, the two meet tonally, albeit uncomfortably, somewhere in the middle.

Text on shop receipt paper, which wraps around the corner of the corridor wall and at the apex of the direction of amplified sound from the two speakers, reads 'Oh friends, not these tones!'. It is an English translation of the first sung part of Ode to Joy, from the original German text: O Freunde, nicht diese Töne!
Disruptions in D Minor, Installation View

Radiant Opacity
Kunsthalle am Hamburger Platz


I am excited to be presenting a new sound installation next week within the group exhibition Radiant Opacity at Kunsthalle am Hamburger Platz in Berlin.

Opening hours: 23-24 February 2024, 14:00-19:00
Vernissage: 22 February, 18:00-22:00
Location: Kunsthalle am Hamburger Platz
Gustav-Adolf-Straße 140, 13086 Berlin

Performance program:
12.02.2024 / 11:00 Reem Alfahad
22.02.2024 / 19:00 Alexey Kokhanov
24.02.2024 / 17:00 Sayaka Shinka
24.02.2024 / 18:00 Nischal Khadka

My contribution to Radiant Opacity is a sound installation inspired by my brief residency at Overtoon in Brussels in January with my collaborative project partner Masha Wysocka. The installation uses field recordings that I made on walks in Brussels during the mass agricultural strikes that took place outside of the 2024 EU summit.

In this exhibition, artists from the master’s program Raumstrategien (Spatial Strategies) at Kunsthochschule Berlin Weißensee present works that collectively question the limits of visibility within temporary worlds. Embracing opacity here becomes a way of fully expressing and presenting our authentic selves. Opacity is both a political and personal strategy to imagine other possibilities across and through borders and bodies.

A group exhibition by:

Alexey Kokhanov, Amanda Bobadilla, Asuman Kırlangıç, Carlos Ricoy, Cecilia Buffa, Cyril Ada, Emma Lang, Farokh Falsafi, Han Yu, Hannah Beilharz, Jeremy Knowles, Kathleen Bomani, Ksenia Lapin, Laura Bleck, Luna De Rosa, Maria Fallad, Mariana García Mejía, Nathalia Favaro, Nina Cavalcanti, Nischal Khadka, Reem Alfahad, Sayaka Shinkai, Sepehr Talebi, Viviane Letayf, Xiao Zhang, xindi
Embassy Walk in Brussels, 2024

Residency Week
Overtoon, Brussels


I’m in Brussels this week for a quick sprint artist residency at Overtoon with project partner Masha Wysocka.

Masha and I have been collaborating since 2021. This year, we will continue our project to address sites of historical significance in Lichtenberg that still inform the wider Berlin area today. Though Masha and I both have academic backgrounds in photography, our practices have united through our shared interest in walking, listening, and sounding within the city. We’re using the time afforded to us this week to experiment with sound and walking as artistic tools, connect with sound artists in Brussels, and benefit from the supportive infrastructure of Overtoon.

Overtoon is a residency program for sound artists based in Belgium. It is coordinated by composer and writer Bill Dietz, and we’re grateful for his mentorship this week.

More updates to follow shortly.

(Masha’s foot). Overtoon, Brussels, Jan 2024

Residency with Masha Wysocka
Overtoon, Brussels


Later this month I will join my project partner Masha Wysocka in Brussels for a 7-day residency at Overtoon. Overtoon is an artist-run platform for practitioners working with sound. The residency supports the production of and research into sound-based practices, as well as their dissemination. Masha and I have been supporting one another since 2021 when we both participated in the online project Das Haus. Since then, we have held regular online sessions to discuss our practices and participated in a collaborative residency at Lichtenberg Studios in May 2023 to develop new projects and tools together.

Masha Wysocka (b.1984) is a hybrid artist using photography, performance, research, sound and writing. Geographically, she lives and works astride Belgium and Spain. Although she was born into a Polish family in the USSR, she has lived in various European countries. Being both Spanish and Belgian, she identifies herself as a multilingual speaker who embraces languages and cultures from Cadiz to Vladivostok.

More on our residency to follow shortly.
©Lichtenberg Museum. Lichtenberg Studios Residency, May 2023

eat borders
Casa Zemstvei, Chișinău


In September I visited Chișinău for the final stage of audiolab: Common Futures - an exchange project coordinated by re:imagine your city between Germany and Moldova. audiolab focussed participants on addressing urban challenges and consequently locating tools, hacks, and solutions. I worked with a group of four other practitioners to address the topic of urban gardening. The result of our collaborative work was a sound and dining installation titled eat borders that was presented at Casa Zemstvei in Chișinău in September and later at C*SPACE in Berlin.

eat borders invites participants to reflect upon the radical potential of the garden and the practice of gardening in the city. We aimed to collectively analyse the concept of urban gardening by deconstructing some of the conventional ‘borders’ that are imposed upon gardens and which keep the practice of gardening in a rather dormant state. Such borders deny gardening its potential as a  transformative force within the city, and within future cities, for nurturing sustainable, edible, and solidary environments.

The project can now be accessed online here.

- Foraging for food,  Chișinău

re:imagine your city
rethinking urban paradigms


I’m grateful to have contributed to a new book that was published today by Shift Books titled re:imagine your city - rethinking urban paradigms.

My contribution to the publication is an essay exploring how artificial light and moths are changing the modern city. The essay is titled Violent (De)Lights and it was conceptualised in classes at Kunsthochschule Weißensee over the past year.

You can order the book here

From the publisher:

The publication re:imagine your city invites you to explore and rethink current paradigms that shape our urban environments. It offers insightful perspectives on commemoration and heritage, city planning and gentrification, migration and post-pandemic changes, solidarity and critical spatial practices. The publication is the result of a collective effort by an engaged transdisciplinary network of urban practitioners, educators, researchers, artists, designers and architects in the framework of the international design lab for urban practices and transformation re:imagine your city.

- re:imagine your city, Shift Books

Open the Night
Project Update


Thank you to everyone who attended Open the Night last week and made the opening event of this project so spectacular. I am truly overwhelmed by the turnout for this event and all the positive feedback.

Open the Night is now an active sound walk on the Echoes platform until the 27th of November. Check it out and let me know about your experience.

The walk is free to stream.

You only need an iPhone or smartphone, plus headphones. The walk is available in English, German, and German Sign Language (DGS).

Open the Night is funded by Draussenstadt.

You can also find more project updates on Instagram

- Open the Night Premiere - 21st Sep 2023

Open the Night


The date is set:

Lichtenberg S+U Bahnhof, Berlin

Project Website

- Project Preview - Lange Nacht der Bilder, 2023

Lange Nacht der Bilder 2023
Open the Night - Project Preview


Join me on the night of the 1st of September for Lichtenberg’s annual open doors art studio evening:

Lange Nacht der Bilder!

For Lange Nacht der Bilder this year, I am excited to offer an early preview a new project I have been working on in secret over the past few months. For curious ears and eyes, you can find me outside of Lichtenberg S+U Bahnhof (Weitlingstraße 22, 10317) from 7pm. Make sure to bring your headphones!

My project is also part of Radtour 4, starting at Gisela Freier Kunstraum at 6pm

Check out the full Lange Nacht der Bilder program here

Or read a recent press article about the evening from the council here

- Shooting street lamps outside of Lichtenberg S+U Bahnhof, Berlin

Im Tierpark Belauscht
Rundgang, Kunsthochschule Weißensee


The grounds of Tierpark Berlin in Friedrichsfelde, Lichtenberg, represent deeply political and symbolic territory. Over the past century alone, the site that now constitutes Europe’s largest landscape zoo has found use, on the one hand, as the private estate of a wealthy agricultural family – the Treskow family, who built and made their home in Schlosspark Friedrichsfelde – and, on the other hand, as the site of a Nazi forced labour and education camp. Originally leased by the Reichsbahn in 1938, the camp was the very first of its kind. Arbeitserziehunglager Wuhlheide then became the archetype for all further work and education camps under National Socialism. Approximately 30,000 inmates were detained in this camp alone and, from those inmates, 3,000 were killed.

Im Tierpark Belauscht responds to the politicised history of Schlosspark Friedrichsfelde through a provocative gesture that nuances our reading of events, political actions, and individual people connected with this site and thus, more broadly, the production of memory in Berlin. Horn speakers hanging by chains reproduce the sounds of birds recorded in captivity in Tierpark Berlin alongside the unmistakable sounds of their human spectators. Both the visual aesthetic of the speakers and the distinctive military-like sound they produce are reminiscent of places of power and hierarchy – schools, detention facilities, prisons, army barracks, etc.

The conflict of symbols presented in this installation between freedom, which we associate with birds owing to their ability to fly, and domination reflects the stunning paradox of the site of Schlosspark Friedrichsfelde - a site of continued, though politically masked, exploitation.

- Im Tierpark Belauscht, Kunsthochschule Weißensee Berlin

Presentation & Discussion


Today at 5pm in the department of Raumstrategien, Kunsthochschule Weißensee, we invite you to join us in an open discussion about our self-published reader OUTLINE - a collection of text and visual responses to questions of space, the city, colonialism, restitution, and memory.

Excerpt from the foreword:

Look around. Where are you reading this text? Try to imagine the layers of histories of the soil, the stones, metal, glass, and paint that surround you.

What do you see?

Although these histories may seem fixed - maps have been drawn, buildings raised, and terrains established - our existing environment still functions as a representation of people’s stories. How these stories are told, and by whom, strongly informs our reading of the places we occupy.

These responses give an insight into how our environment is not static at all, but in fact a space of dialogue and exchange nuanced by multiple, intersecting lines and shapes.

These are the stories we want to tell...


Ongoing Strategies


This week, I am installing my sound installation Im Tierpark Belauscht outside of Kunsthochschule Weißensee in preparation for our Rundgang/open door exhibition this weekend.

Date and Times:
22nd - 23rd July
12pm - 8pm

Johannes-Itten-Straße 1
13086 Berlin

3pm (German)
4pm (English)

Download here

See you there.

- Installation, Ongoing Strategies, Kunsthochschule Weißensee Berlin

Raumstrategien Rundgang
Kunsthochschule Berlin Weißensee


Join me, and fellow Raumstrategien students, next weekend in Weißensee for our Summer Semester rundgang exhibition... Ongoing Strategies.

Date and Times:
22nd - 23rd July
12pm - 8pm

Johannes-Itten-Straße 1
13086 Berlin

3pm (German)
4pm (English)

I’m excited to present my sound installation Im Tierpark Belauscht in the Rundgang, which was first exhibited last weekend in Steglitz on the grounds of Kulturhaus Schwartzsche Villa. Our department is also presenting a new print publication, titled OUT LINE, which is a collection of texts and artistic responses generated by students on this course through classes held in the Winter Semester of 2022 and Summer Semester of 2023.

My contribution to OUT LINE explores how the ethical authority of museums has been undermined by two ‘guests’ over the past century: restitution and computer technology. Unwanted Guests they have also become obsolete.

- Ongoing Strategies, Kunsthochschule Weißensee Berlin

Im Tierpark Belauscht
Xposures Open Air Exhibition


Im Tierpark Belauscht responds to the politicised history of Schlosspark Friedrichsfelde through a provocative gesture that nuances our reading of events, political actions, and individual people connected with this site, and thus also the production of memory in Berlin.

Over the past century alone, the site that now constitutes Europe’s largest landscape zoo has found use, on the one hand, as the private estate of a wealthy agricultural family – the Treskow family, who built and made their home in Schlosspark Friedrichsfelde – and, on the other hand, as the site of a Nazi forced labour and education camp. Originally leased by the Reichsbahn in 1938, the camp was the very first of its kind.Arbeitserziehunglager Wuhlheide then became the archetype for all further work and education camps under National Socialism. Approximately 30,000 inmates were detained in this particular camp and, from those inmates, 3,000 were killed.

Horn speakers, installed in a tree on the grounds of Schwartzsche Villa, reproduce the sounds of birds recorded in captivity in Tierpark Berlin alongside the unmistakable sounds of their human spectators (voices, footsteps, camera shutters, and mobile phone ringtones). Both the visual aesthetic of the speakers and the distinctive military-like sound they produce are reminiscent of places of power and hierarchy – schools, detention facilities, prisons, army barracks, etc. The conflict of symbols presented in this installation between freedom, which we associate with birds owing to their ability to fly, and domination reflects the stunning paradox of the site of Schlosspark Friedrichsfelde.

Although visitors to Tierpark Berlin may well discover a memorial stone to the victims of Arbeitserziehunglager Wuhlheide as they explore the park, I make the case here that the more accurate memorial is the zoo itself - a site of continued, though politically masked, exploitation.

Xposures Instagram
Bezirksamt Steglitz Press Article

- Xposures is funded by Draußenstadt Fonds SZ

- Listening Session, Im Tierpark Belauscht

Kulturhaus Schwartszche Villa


Xposures is a two-day open-air exhibition and program of performances taking place in and around the garden of the Kulturhaus Schwartzsche Villa in Steglitz.

Schwartzsche Villa
Grunewaldstraße 55
12165 Berlin

- Saturday, 8th July (2pm to 8pm)
- Sunday, 9th July (10am to 6pm)

The commissioned video and sound installations, sculptures, performances, and participatory artworks explore in various ways the politics of representation of bodies, the need of decolonising memory, and the debated issue of whose legacy is transmitted through exhibitions, public memorials, repositories, visible traces in urban space and digital sphere, and consequently which voices can be heard. Furthermore, playing with practices of inhabiting public and private spaces, and questioning architectures and bodies as borders between the inner and the outside, the artworks will be displayed in, and will create dialog with, the garden of Kulturhaus Schwartzsche Villa, as well as liminal spaces of the building itself.

You can read the press article here

- Im Tierpark Belauscht, Kulturhaus Schwartsche Villa

Day 2.
Aktuelle Reality (AR)


Well, it’s all over for another year folks...

Aktuelle Reality (AR) was, of course, smashing. I even met a bunch of lovely people in the process. We certainly pushed the boundaries of reality. And hopefully my performance provided some mild entertainment for the participants, too.

One participant of the workshop on Saturday, David Koblos, who created some funky spiral goggles, wrote a playful description of his experience on his blog.

Here’s a cute section I’d like to share:

‘Under the skillful instructions of Jeremy Knowles we first got to experience reality, feel it as it is, or rather, as each one of us created their own interpretation of it, using the power of our imagination completely freely. After a brief discussion of this conceptual base, we were thrown in the deep end, where we had to transform these ideas into something tangible: goggles of Virtual Reality. Or let's just say, something amazing to strap in front your face that you can look through (or not).’

Until next summer, 48 Stunden Neukölln.

Aktuelle Reality (AR) has gratefully received funding from Bezirksamt Neukölln, Fachbereich Kultur.

- Aktuelle Reality (AR), Officina Neukölln

Day 1.
Aktuelle Reality (AR)


48 Stunden Neukölln is in full, glorious swing once again as 1000+ artists claim spaces across the district to offer workshops, performances, and exhibitions inspired by the theme Play(Ground).

My contribution to the festival this year is a performative workshop and city intervention, held at Officina Neukölln. During each session, participants are invited to create optical devices from cardboard that use a fantastic and yet still under-acknowledged technology:

Aktuelle Reality (AR)

This project aims to poke fun at the increasing consumer value of Virtual Reality technology by instead offering performance and imagination as tools for viewing space differently. In line with this year's festival theme, this combined workshop and group intervention challenges participants to playfully re-imagine city space and... to unplug.

Aktuelle Reality (AR) has gratefully received funding from Bezirksamt Neukölln, Fachbereich Kultur.

- Aktuelle Reality (AR), Officina Neukölln

Aktuelle Reality (AR)
48 Stunden Neukölln


Please join me in the Hof of Officina Neukölln over the weekend of 48 Stunden Neukölln for the official user testing phase of a new product I have developed:

Aktuelle Reality (AR)
The past, present, and future of human experience...

Users say: “It’s just like real life!”

There are several opportunities for you to come and try out this cutting-edge technology yourself before it hits the consumer market and makes a big splash.

So don’t miss out.

Saturday (24.06.2023): 11 am, 2 pm, 5 pm
Sunday (25.06.2023): 11 am, 2 pm

Officina Neukölln
Karl-Marx-Straße 277
12057 Berlin

48 Stunden Neukölln
Officina Neukölln

- Aktuelle Reality (AR) has gratefully received funding from Bezirksamt Neukölln, Fachbereich Kultur.

Settling Scores
Lichtenberg Studios


Settling Scores was a two-part public engagement that Masha Wysocka and I co-facilitated toward the end of our one-month residency at Lichtenberg Studios in Berlin.

The idea driving these engagements, in which we invited participants to join us in walking, listening, and performing in public spaces, originated in our desire to share our perception of particular sites in Lichtenberg in non-invasive ways – specifically without the use of politically loaded objects such as cameras or microphones. The two engagements we offered took place in Neu-Hohenschönhausen and Karlshorst respectively, and for each place Masha and I wrote scores that participants would use to engage physically and playfully with their surroundings. Our aim was also to experiment with a technique for addressing the history of these sites in a non-didactic way, through which participants could ask questions and draw conclusions based on their own, personal experiences.

We were deeply inspired by a workshop we attended earlier in our residency period, given by Elena Biserna, in which we discovered different walking scores written by artists. Elena’s book Walking From Scores is a rich resource for such works and I highly recommend it.

- Settling Scores participant Patricia Meier. Photo taken by Masha Wysocka

Public or Private?
Rights, Space, and Photography in Berlin


Privacy is a deeply political and geographically bounded issue. Even within Berlin, the concept of privacy may be viewed quite differently depending on which side of the city you find yourself in - former East or former West - and whether you’re in the company of Germans who were born before or after reunification (1989-1991). Here, unmistakable ghosts of the past century’s political shifts still linger in the resilient attitudes held by Berliners towards their rights to privacy in and out of public space.

After taking the photo of the broken window with tape around it, I quickly entered into a *lively* debate with a man who was inside the building at the time, and who immediately came out to question me.

“Wer sind Sie? Für welches Firma arbeiten Sie?” He asked.

“Ich bin ein Künstler. Ich finde dieses Bild mit dem zerbrochenen Fenster sehr interessant”. I replied.

It is often assumed by people who stop me in the act of photographing that I am working for someone. Rarely is my answer of “I’m an artist!” accepted or taken as reassurance.

“Sie können hier nicht fotografieren. Das ist verboten - privat!”, the man asserted.

“Sorry, aber im öffentlichen Raum kann ich durchaus Gebäude fotografieren”, I responded.

“Haben Sie noch nie etwas von Datenschutz gehört?” He asked.

The debate went on like this for some time and eventually included his co-workers and passers-by rallying against me. Although I absolutely respect the man’s right to privacy, and his right to request it from me, for that matter, I didn’t see my actions as invasive. Certainly not invasive upon his privacy - the camera saw nothing of the inside of the building and the image shows no people - and perhaps he wouldn’t have either if he could have seen the photo I had taken.

Yet, I was grateful for the encounter. I have them so often in Berlin - far more often than ever in London. What always strikes me as comedic (and ironic) is that the people who demand their rights to privacy from me are the ones to first approach me and then demand my name and information. The paradox is stunning, and it speaks so clearly to the history of people, occupation, rights, and freedom in Berlin.

- The photo that sparked a debate, of a broken window in Neu-Hohenschönhausen, May 2023

Settling Scores


Earlier today, Masha and I invited participants to join us in the first public engagement of our one-month residency at Lichtenberg Studios in Berlin.

Settling Scores is a two-part ‘walkening’ taking place in Neu-Hohenschönhausen and Wartenberg respectively. For each engagement, we’ve invited participants to join us in performing walking scores inspired by each place.

Here is one of my favourites from today:

Measuring Score

Number of participants: Even numbers (2, 4, 6, 8, etc)
Duration: 5-7 mins
Location: An intersection or crossroads
Equipment: Tape measure

In pairs, use a tape measure to define your direction, length, and speed of travel.

- Settling Scores Prep, Neu-Hohenschönhausen, 28th May 2023

Walking from Scores
Elena Biserna Workshop


Last weekend, Masha and I joined Elena Biserna’s practical workshop Walking from Scores, hosted by Errant Sound in Berlin, in which we used some of the artist scores archived by Elena in her book of the same title to engage physically with the city.

What quickly became clear within this workshop was how differently we each read and understand our engagement with public space.

Amongst our group, there were many contradicting definitions of what ‘normal’, everyday life is in Berlin. Is a system developed, worked on, or added to, as we enter public space? How is the everyday produced and reproduced as a kind of performance? Throughout the course of the day, we both individually and collectively performed scores from Elena’s book and afterward spent a good deal of time discussing our observations. We were also keen to note how other people, outside of our little workshop bubble, reacted differently to our interventions. Did our actions have an impact or, perhaps, break the ‘normalness’ of this everyday performativity we originally discussed?

- Walking from Scores, Errant Sound, 13th May 2023

Neu Horizons?
Lichtenberg Studios


This month, at long last, Masha Wysocka and I are united in person to observe, document, walk, listen, rummage, and misunderstand in unison within the context of our collaborative research residency at Lichtenberg Studios in Berlin.

Thanks to the support of Museum Lichtenberg, we are also diving into the district archive and asking questions of the past.

Have a ganders at this recent press article from Bezirksamt Lichtenberg related to our residency.

More updates to follow...

- Museum Lichtenberg Archive, May 2023

Tschüssi tschüss, Future-Proof
Dot Berlin


The future has been proofed - you’re welcome.

Julie and I clinked glasses last night during the final hours of our month-long exhibition Future-Proof, at Dot Berlin. Just look at the joy beaming from our faces!

If you missed the opportunity to visit our exhibition, I highly encourage you to stay updated with Julie’s projects via her artist website. UrbanEyez will return next month, on 17th June, during Karneval für die Zukunft.

More updates to come shortly...

UrbanEyez was a series of workshops aimed at challenging participants to playfully reimagine their engagement with the changing city. In each workshop, objects constructed from cardboard and found materials were designed and worn in order to alter our experiences of the urban environment. We encountered our own, individual limitations and freedoms, and in doing so created a collective vision of what future cities might look like and offer us.

Workshop #1 addressed the body (which bodies are granted access?). Workshop #2 focussed on anonymity (are our rights to privacy changing?). Workshop #3 was about survival (what challenges might the future metropolis present us?).

- Confused? Angry? (Future-Proof Finissage, Dot Berlin, 10th May 2023)

Collaborative Research Residency
Lichtenberg Studios


Work is underway in Lichtenberg!

Last Wednesday, Masha Wysocka and I began our one-month collaborative research residency at Lichtenberg Studios in Berlin.

Masha and I have been meeting regularly online since 2021 when we were connected via the remote project group DAS HAUS. Over the past year and a half, since the project ended, we have supported one another’s practice through fortnightly check-ins on Zoom. Our goal has been to develop ideas together and to collaborate on a new project. This month, we are united in person at last to research, observe, document, walk, listen, connect, and misunderstand in unison. Thanks to the Lichtenberg Museum, we will also be diving into the district archive and asking questions.

Our residency runs until June 4th.

More updates to follow soon.

- Museum Licthenberg Archive, May 2023




My UrbanEyez workshops may be finished, but Future-Proof, with Julie Chovin, certainly isn’t...

Our exhibition is running until 10th May. I also warmly invite you to attend the finissage of the show (details below).

10th May 2023
6-9 pm

Dot Berlin
Malmöer Str. 3
10439, Berlin

- UrbanEyez Workshop #3 @Dot Berlin, May 3rd 2023

UrbanEyez - Workshop #3

Dot Berlin


The final UrbanEyez workshop is tomorrow at Dot Berlin and there is still room for a couple of late sign-ups. If you’re interested in taking part in UrbanEyez, you can do so using this registration form

Workshop #3 takes place:

3rd May, 3-6 pm
Dot Berlin
Malmöer Str. 3
10439, Berlin

The aim of UrbanEyez is to reimagine our physical engagement with city spaces. Participants in these workshops construct physical objects to change their experience of (or their ability to move through) the urban environment. In doing so, we undoubtedly encounter our varied limitations and freedoms, and in doing so create a collective imaginary of what future cities might offer us.

- UrbanEyez Workshop #2 @Dot Berlin, April 22nd 2023

UrbanEyez - Workshop #2

Dot Berlin


The second installment of UrbanEyez is fast approaching and I can still take in a few more eager participants. If you’re interested in taking part in UrbanEyez, you can sign-up using this registration form

Next workshops:

22nd April 1-4pm
3rd May 3-6pm

Participation in UrbanEyez is of course free and no experience in anything at all is required! You should come prepared to blend in/stick out/move through city space in a potentially new way using whatever devices we construct in the session.

- UrbanEyez Workshop #1 @Dot Berlin, April 12th 2023

UrbanEyez - Workshop #1

Dot Berlin


One workshop down, two more to go: 22nd April + 3rd May

Sign up for the remaining workshops (for free) here

UrbanEyez is a series of workshops I am presenting at Dot Berlin as part of my duo show future-proof with artist Julie Chovin. future-proof opens this Friday at Dot Berlin, where both Julie’s artwork and the results of my first workshop will be on show. I warmly invite you to the opening!

14th April 2023
6-9 pm
Dot Berlin
Malmöer Str. 3
10439 Berlin

Who has the right to be in the city? Are public spaces open to everybody? Can every body, therefore, safely travel through and exist in public spaces - streets, markets, open areas, green spaces, and parks? If we assume that this isn’t the case, then which bodies are granted safe access and which are denied?

For whom are cities intended?

We are living in a time of rapid technological advancement across countless fields and industries, but this is especially true for online space-making and virtual experience. From the very foundations of the internet, we have sought to relate to online space through our understanding of social and city space. Retro examples of early-internet projects such as GeoCitiesand Myspace make this desire expressly clear: we have a propensity to conflate the physical with the digital. Yet, perhaps as a result of our efforts to negotiate between the two poles, and in seeing ever-growing possibilities of being online to meet our needs, our lived experiences are increasingly migrating from tangible to intangible. Consequently, there is a growing tendency to seek out the sublime in safe, online spaces - spaces which traverse conventional boundaries and limitations of geography, identity, income, politics, and body (to name but a few) - instead of us first seeking to generate the kind of change we wish to see in our immediate physical/analogue environment. And yet, this does not make online spaces safe. Far from it. We need only consider the many extremist and violent ideologies (anti-vaccine movements, incel culture) that are fostered in online forums to see how internet echo chambers polarise and exclude. The boundary between body and screen is not as rigid as we might think.

The aim of UrbanEyez is to reimagine our physical engagement with city space. Participants in these workshops will construct physical objects to change their experience of (or their ability to move through) the urban environment. In doing so, we will undoubtedly encounter our varied limitations and freedoms. The products of the workshops will be presented in the exhibition future-proof (Apr 14 - May 10), after which participants are invited to claim their creations back!

- UrbanEyez Workshop #1 @Dot Berlin, April 12th 2023

Night (Light) Walk
With Annette Krop-Benesch


I thoroughly enjoyed my night walk around Berlin's Friedrichshain yesterday evening with the fantastic Annette Krop-Benesch!

Together, we strolled through the snowy night, feeling the omnipresent buzz of various lights being projected into public space, and traded our opinions on artificial light in the city. I even invited Annette to experience a condensed version of my Sound Safari workshop, which enables participants to listen to different sources of light through headphones.

Annette is a biologist, author, researcher, lecturer, and overall expert on the subject of light pollution. Her book, Licht Aus?!, addresses in depth the many concerns, causes, and consequences of applying too much light, too frequently, into the night.

What does the future hold for the inhabitants of major cities like Berlin as we blast ever-increasing amounts of light into the darkness?

- Night Walk with Annette Krop-Benesch, March 2023

‘Low-Hanging Fruit’
Dark Monuments in the Shadows of War


Back in October, shortly before Berlin turned icy cold and a blanket of grey cloud predictably settled over the city for the winter period, I spent two evenings (with clear skies above) looking through my viewfinder at some of the capital’s most iconic monuments: the Siegessäule, Brandenburger Tor, Berliner Dom, and Reichstag. Having lived in Berlin for over six years now, I must admit that these sites sadly do not carry the same intrigue for me as they once had when I was a newcomer to the city. However, something about these monuments had changed that made them extremely interesting again: they were standing in darkness.

Well... partially, at least. This is honestly a whole other conversation.

The decision to switch off the lights that would normally illuminate some 200 monuments and historical buildings across Berlin was made in July 2022 as an energy-saving measure in response to Russia’s war in Ukraine and the resulting economic implications for Germany. It being an action that spans politics, geopolitics, debates about the environment, and ecology (to name but a few concerns), the shutting off of lights on famous monuments in Berlin and across Germany has prompted many people concerned with light pollution to ask questions. One such person is Thomas Schielke, who is not only one of Europe’s leading voices in the critique of unsustainable lighting practices but also happens to be the person I was shooting these dark monuments for in the first place. His series of articles for ArchDaily explores current debates around light pollution, lighting design, and architecture.

Thomas' article about Berlin's dark monuments is insightful and thought-provoking, and I would encourage anyone interested in these topics to read it.
- Berlin’s Siegessäule illuminated by traffic

Sound Safari
Humbolt-Universität zu Berlin


It was an absolute pleasure to facilitate the Sound Safari as a practical workshop last Thursday for the seminar class ‘Urban Vibrations’, at Humbolt-Universität zu Berlin. Thank you to all the participants for your engagement! I’m extremely grateful to Nona Schulte-Römer, who is co-director of the program at HU, alongside Ignacio Farías, for inviting me as a guest lecturer in her class and for the opportunity to share my project with a new audience.

Workshops like this provide an invaluable opportunity for exchange across disciplines and between sometimes isolated areas of research. It was fascinating to hear feedback on my project from Ph.D. students and professors who already actively investigate and study unseen waves (electromagnetic fields, noise, heat) within the built environment. We discovered many intersections between our practices.

Would you like to attend the Sound Safari?

Shoot me a message to express your interest in future runs of this event and I’ll be sure to keep you in the loop.

This project has received funding from Neustart Kultur + Stiftung Kunstfonds

- Sound Safari Workshop, Berlin, 24.11.2022

Sound Safari


The first-ever Sound Safari has wrapped!

Last Friday, I gathered a group of around 20 curious participants in Friedrichshain, in the east of Berlin, for a night-time tour of the neighborhood to explore and better understand our relationship with artificial light at night. I should first make clear that I use the word ‘tour’ here loosely because this implies that I or some other person of authority took everyone along a pre-selected route. This was not the case. On this tour, participants had to guide themselves and determine their own routes based solely on their individual experiences of both light and sound.

The context of this event is Martinstag, which is celebrated each year in Germany on 11th November predominantly by children and their parents. Traditionally, Martinstag is observed in the acts of creating homemade paper lanterns that house tealights and then walking in procession through the neighborhood at night. Though its historical context is Catholic, Martinstag for Berliners is viewed in a largely secular way and is more often termed Laternenfest (Lantern Festival). It is a celebration of hope and generosity in hard times (the winter), represented by light in the darkness.

It is within this context - a context in which light is accepted as a metaphor for good - that we lent our ears and eyes to the city at night in order to become more aware of the presence and effects of urban street and commercial lighting. As a group, we explored the neighborhood according to our desire to listen to, and categorize, different sources of light. We learned about the effects of light pollution on human health, biodiversity, our environment and changing climate, and our ability to view the stars.

Would you like to attend the Sound Safari? Shoot me a message to express your interest in future runs of this event and I’ll be sure to keep you in the loop.

This project has received funding from Neustart Kultur & Stiftung Kunstfonds

- Photography: @Izzy Dempsey

Licht, Klang, Flux - Sound Safari
Public Event


Join me this Friday, 11th Nov, for a tour through light, sound, and... Friedrichshain.

Stefan-Heym-Platz 1, 10367 Berlin

Date & Time:
11.11.2022, 18:30

Registration & attendance (free):


For those of us who are already accustomed to the warped cycle of day and night that comes as a package deal with living in the city, an acute awareness of the senses is essential to stop on the way home at night and pause, only for a moment, to take in the unnatural and otherworldly quality of the brightly-lit modern city when all should be dark. Artificial light at night is so ubiquitous, so commonplace and so widely experienced by humans and animals alike within urban space that we are often blind to it.

But what if we could define and categorise light in a different way - instead of just seeing the light which brightens our cities at night but, also, listening to it? Might we become more aware of its presence and the spaces it occupies? Though we, as humans, are sensitive to much - spectrums of light perceived through the eye, sonic frequencies received in the eardrum, various forces felt and interpreted on the surface of the skin and throughout our fleshy bodies - there is also much of the natural and the digital that we simply cannot pick up on. So much information that we aren't tuned in to.

On 11th November each year across Germany, Martinstag (also known as Laternenfest) is celebrated mostly by young children who walk in procession at night holding homemade paper lanterns. It is a celebration of hope and generosity in hard times, represented by light in the darkness. With this annual tradition as our contextual backdrop this Friday, we will explore the city at night in a new way, by allowing both light and sound to be our guides.

This project has received funding from Neustart Kultur & Stiftung Kunstfonds
- The city at night, Berlin

Translating Light into Sound
City Interventions


For those who are already accustomed to the warped cycle of day and night that comes as a package deal with living in the city, an acute awareness of the senses is essential to stop on the way home at night, briefly pause, only for a moment, and take in the unnatural and otherworldly quality of the brightly-lit modern city when all should be dark. Artificial light at night is so ubiquitous, so commonplace and so widely experienced by humans and animals alike within urban space that I suspect we are often-times oblivious (at least consciously) to its very existence. To be in the dark in the modern city is not a guaranteed experience. For our personal and road safety, we expect our streets and footpaths to be illuminated as if they are football pitches, wherever we may go.

Though we, as humans, are sensitive to much - spectrums of light perceived through the eye, sonic frequencies received in the eardrum, various forces felt and interpreted on the surface of the skin and throughout our fleshy bodies - there is also much of the natural and the digital that we simply cannot pick up on. So much information that we aren't tuned in to. But what if we could define and categorise light in a different way, instead of just seeing the light which brightens our cities at night but, also, hearing it? Would we become more aware of its presence and the space that it occupies?

These are questions that have fuelled my investigation over the last couple of months. To find new ways of signalling what I perceive as the overuse of street lighting at night in Berlin has been a real adventure. This enquiry has driven me to create all sorts of experiments and interventions in public space, which I will be sharing soon.

- City Intervention at Night, Lichtenberg

Project Update
Dark Sky City


I spent a lot of my childhood in Wales staying in a cottage situated between two IDA-recognised sites: the Brecon Beacons and Ellan Valley. I have extremely fond memories of taking night hikes through the mountains as a child using nothing but the light of the moon to guide my way, of witnessing in awe a solar eclipse from our garden, and of visiting The Spaceguard Observatory Centre in Knighton where I first learned about the important role such sites play in keeping our planet safe from asteroids. During a trip back to Wales in 2017, I read an article about a new IDA site in Germany just outside of Berlin in Westhavelland. Since then I have become fascinated by the efforts of so many passionate people to preserve something I had always taken for granted – access to dark skies at night.

A central theme in my art projects over the last 8 years is an investigation of our spatial relationships with the modern city. Having grown up on a remote and fairly isolated farm in the English countryside, with no neighbours in sight for many miles, city living has become a source of endless inspiration for me. To say I am bewildered by the act of millions of people sharing the same space is, frankly, an understatement.

Having now lived in two European capital cities myself (London and Berlin), there is one question that still drives my investigation: how do we, as inhabitants of the city, activate the spaces we share?

I have extended this enquiry throughout my freelance work in Berlin - as an artist, photographer, educator and writer – and this summer was awarded funding from Neustart Kultur to investigate an aspect of city experience that I feel is given hardly enough exposure (sorry for the pun): artificial light at night.

During this initial stage of my project, I am gathering research and ideas by connecting with the many passionate people across Germany who are engaged in efforts to reduce light pollution. I have been overwhelmed by the number of activists, researchers, scientists, lighting professionals and politicians who have responded to my call for help.

Ultimately, my goal in this project is to bring even greater awareness to this issue. If I can inspire more city-dwellers to turn off their lights and appreciate natural dark skies a little more, I’ll consider my efforts a massive success.

Dark Sky Nord
Langwedel Community Meeting


Over the weekend, I attended a community meeting in Langwedel (just east of Bremen) organised by Dark Sky Nord - a small group of individuals working in their free time to inform people about the effects of artificial light at night. The aims of the meeting were simple: to educate the community in Langwedel about light pollution and spark debate.

One of my key research tasks over the summer was to find areas of the country that are at the forefront of light pollution discourse, campaigns and activism. I wanted to find the places that are struggling for change and, early on in my search, Dark Sky Nord appeared as a group I should be in contact with. I was told that the few members of Dark Sky Nord tirelessly fight local municipalities in Bremen and surrounding towns for light pollution in Germany to be taken seriously.

Karin Dörpmund is one of the founding members and she knows how to engage a crowd. Several times during her presentation, exclamations of “oh Gott” and “nein” could be heard coming from attendees as they learned for the first time about the serious effects of light pollution on the environment, local wildlife, and on human health and wellbeing. Meetings like this play a vital role in getting the message across, if only to inform a group of people who might not have otherwise been exposed to the concept of light pollution.

I’m completely honoured to have been invited as a guest member of Dark Sky Nord. You can keep up to date with future workshops, meetings and presentations here.

Dark Sky Nord Meeting, Langwedel, 24.09.2022

Urania Berlin
2022 Magazine Issue


I’m really happy to see Hold Up To View published in the 2022 issue of Urania Berlin’s annual magazine. This year’s issue explores the theme ‘Freiheit und Widerspruch’ (freedom and contradiction).

Very apt timing for my research into dark skies...

You can find the full series here
- Urania Berlin Magazine, 2022

More Light = More Safe?
Thoughts on Artificial Light at Night


How much light do we need in order to feel safe in the city? Does increased street lighting equal more safety? Or less crime?

The majority of violent crimes are actually committed during the day. So where does this theory come from that we need more light in order to be safe? And that light somehow acts as a deterrent for bad things?

We have evolved to be active during the day and to rest during the night. Darkness is something we often fear and so we’ve built our living environments to have nearly perpetual light, around the clock, 24/7. Because of the light pollution this causes, the majority of us never experience the *phenomenon* of a natural dark sky at night.

And it’s not just those who live in the city that are no longer granted this access! Sky glow (caused by excessive light pollution in cites) is an over-exposure of the night sky by artificial light. This has an effect not only in the city itself but also for many miles into suburbs and countrysides. As a result, around a third of the world’s population cannot see the Milky Way when looking up at the night sky.

Aren’t we losing something here?

We are becoming disconnected from something primal and essential - the source of humanity’s most important art, music and science for thousands of years - a view of the stars.

Yet, only 100 years ago, every human on earth was capable of looking up at night and seeing thousands of stars. This was possible in even the most densely-populated cities.

What would have inspired van Goch in Paris had there been no stars to paint in The Starry Night?
- Fulda, Germany

Dark Sky City: Fulda
2022 Research Grant


I’ve spent the past couple of days in the Baroque city of Fulda, Hessen, investigating artificial light at night (ALAN).

Did you know that residents in Fulda are committed to protecting the natural dark sky? Fulda has recently become recognized by the International Dark Sky Association (IDA) as a Dark Sky City. This makes Fulda the only city of its kind in Germany and the second largest Dark Sky City in the world after Flagstaff, Arizona.

I’m here to explore Fulda at night and document how the city is adapting its lighting plan to reduce light pollution.

My project is funded by StiftungKunst Fonds - Neustart Kultur.

More updates to follow.

In//Between ResidencyGreen Hill Gallery, Berlin


I'm really excited to share that I will start a new freelance position this month as Artist Residency Coordinator at Green Hill Gallery (Kulturschöpfer e.V) in Friedrichshain.

I've been connected with Kulturschöpfer since 2019 when I participated in the IN-BETWEEN residency as an artist myself. Since then I've stayed involved in the Kulturschöpfer community by hosting The Salon (a monthly artist talk series) throughout the year and now as a coordinator of the residency program that I once enjoyed and learned so much from.

Starting this month I will be coordinating the program alongside a team of art and cultural professionals in Berlin, facilitating group discussions around contemporary art practices, giving one-on-one mentoring on-site and curating public exhibitions in the gallery.

I’m looking forward to meeting the artists next month!

More updates to follow 💥

- Photo by Marie Kloos, 2022

48 Stunden Neukölln, 2022
Opening Party


We kicked off 48 Stunden Neukölln in style yesterday with an opening party at Polymedialer Ponyhof packed full of people. Guests in the courtyard could participate in a new VR experience made for the festival, which explores boundaries between public and private space (amongst other things).

You can find me at the space this weekend during the times below.

  • 24-26 June
  • 7-10 pm Fri & Sun, 3-10 pm Sat
  • Kienitzer Str 11, 12053

This project would not have been possible without the support of three important contributors, who deserve credit for their work:

- Raised by Puritans (Music)
- ALPHA_RATS (Game Design)
- INVR SPACE (VR Devices)

- Bats in the Belfry (Opening party, Polymedialer Ponyhof, 2022)

Bats in the Belfry
48 Stunden Neukölln


In a couple of weeks time, I’ll be presenting work at 48 Stunden Neukölln again!

Bats in the Belfry is a new virtual reality experience created for the 2022 program of 48 Stunden Neukölln in Berlin. During the opening times (specified above), guests visiting the courtyard at Polymedialer Ponyhof are asked to put on VR headsets, leave the city and step inside my own private space.

This piece was made in response to the theme of the festival this year:

Kafayı yemek

What is highlighted in the idioms kafayı yemek and bats in the belfry is our tendency to conflate the emotional (sensations of panic and disorientation) with the physical (bodyparts, architecture, the motion of wild animals). Such is our need to situate and make tangible our mental condition in the times that we find oursleves to be ‘out of place’.

‘Kafayı yemek is to be true to yourself.
Kafayı yemek is deorganizing under circumstances.
Kafayı yemek is documenting the time through sayings.
Kafayı yemek is wandering around the city.
Kafayı yemek is reacting.
What is kafayı yemek for you?’

- 48 Stunden Neukölln, 2022

- Bats in the Belfry (Poster), 2022

The Salon (May)
Sound, Sight, Touch


Last night, Kulturschöpfer opened its doors once again to The Salon - our free, monthly artist talk series held in Friedrichshain, Berlin.

This month, I invited three artists to discuss their work and share insights into their practices:

- Marnie Feuerriegel
- Oleg Yakovlev
- Quadrature

Whether by taking influence and cues from the natural world, searching for patterns in data or archiving fragments of the human experience, Marnie Feuerriegel, Quadrature and Oleg Yakovlev demonstrate both a shared sensitivity to their physical and cultural environments and a critical concern for inspecting normalcy.

The Salon is a free, monthly artist talk event, so stay tuned for updates on our next instalment in June

Artist links:




- The Salon (May) Sound, Sight, Touch

The Salon (May)
Sound, Sight, Touch


Event info:

19th May, 7:30 pm

Grünberger Str 13

Event links:


What is The Salon?

The Salon is a meeting place for anyone interested in art and culture. Each month we create a space for free exchange and learning in the style of an art salon, where local Berlin artists are given a platform to share the decisions and processes behind their artistic projects, and where participants can explore a range of topics and concerns related to contemporary art practice. Our theme is May is Sound, Sight, Touch and we will be joined by three artists.

Who are the artists this month?

Quadrature uses technology as a means to read and write realities, using data as the primary artistic material. The Berlin-based artists use transdisciplinary media to create artworks that not only capture the intersection between art and science, but also the convergence of digital and analogue.


Marnie Feuerriegel is an Australian artist who moved to Berlin in 2015 to pursue a career in the arts. She works predominately with oil paint and bold bright colours. Marnie is in a self-proclaimed love affair with nature and works her hardest to capture the wonderful, whimsical animals and plants of the natural world in her paintings.


Oleg Yakovlev is a Russian artist and photographer interested in urban layers and their influence on urbanites. Oleg was born in Moscow, Russia, in 1986, but has been living abroad since the Russian invasion to Ukraine. He is currently based in Colombo, Sri Lanka.


- The Salon (March) Art & The City

8am Walks (Return)

Yes, I know. It’s been a while


Thought of the day: walking without a destination is to be liberated of a fundamental in walking (purpose).

I encourage anyone and everyone to try it. See how you feel walking (in or out of the city) in a way you haven’t before and without a finish line. Take a new route, shortcut or diversion. Try to walk against your internal compass and counter to whichever direction the roads, signs, trees or hedgerows lead you.

Can you get lost?

I’ve been taking regular morning walks with my camera since my second year living in London (2013). I had to find something, and so I searched London for it on foot and through the lens. Several years later (and now living in Berlin), I feel I am no longer searching for things, as such. But I still walk, find and connect bits and bobs. I take a different approach from those early days walking around Camberwell. My walks now have an added purpose: subversion.

Subversion is an unignorable theme in this project. I accept that my act of subversion is pretty tame in comparison with the likes of Sophie Calle and Francis Alÿs. But it does, nonetheless, exist.

What am I subverting? Capitalism, obviously.

Think of the city as a puzzle.

Like any game, this puzzle is designed around a set of fixed rules. As you navigate it, there are some spaces you cannot visit (you will inevitably encounter one of those ‘Privatgrundstück - Kein öffentlicher Durchgang!’ signs), some actions you cannot take (in Germany, unlike in the UK, most people do in fact wait at pedestrian crossings) and routes you cannot follow (all of those ‘Umleitung’ signs that force you to change your intended direction due to construction). Often, rules in the city-puzzle are intent on parting you with your money. This is evident in the infrastructure of most urban spaces, which channel you toward centres of trade and commerce. Follow any main road in the city and you’ll inevitably find a range of opportunities to lighten your wallet.

I generally dislike taking major thoroughfares and boulevards when I walk in Berlin, London or anywhere else. I’ve always been drawn to small places, forgotten places (as if they exist) and less-frequented places - places that have something to offer or hide. By doing so, I walk against the grain of a city designed to direct me towards shops. I feel this now more than ever after two years of experiencing a worldwide public health pandemic when many shops were closed. What is the purpose of that infrastructure then? Where do those routes now lead?

I also wonder which holds more value for me now; the process (the walk) or the product (the photograph)? Which best navigates, explains and solves the puzzle?

8am Walks, April 2022

Sensing the City - Sense of the City


Sensing the City - Sense of the City is now open and running until March 28th at Zwitschermaschine and ORi in Berlin.


- Projektraum Zwitschermaschine - Potsdamer Str. 161
- ORi künstlerische Bildmedien e.V. - Friedelstr. 8


- Wed - Fri 4-8 pm
- Sat, Sun 2-8 pm

The artist responses presented in this group show demonstrate a shared impulse to investigate, document and catalogue the many facets of human experience within urban space. I’m really inspired by the scope and depth of the projects exhibited in this show, and grateful to the curators for making it all happen by bringing the artists together - not only within Berlin but also between Berlin and Lisbon.

‘Has every city got its own pace? What do we hear, see, and feel when we walk out the door into the cityscape? Is it too loud, too fast, too trendy, too narrow, too dirty, too crowded? How do we manage not to lose track? The exhibition project Sensing the City - Sense of the City aims to explore individual sensations in urban spaces. Taking place in Berlin and Lisbon simultaneously, this cross-disciplinary platform for urban art will host works in diverse shapes and different media and will be accompanied by a broad range of workshops and other participatory formats.’

- Exhibtion Text


Bailey Keogh, David Wagner and Nico Espinoza, Jeremy Philip Knowles, Laura J. Lukitsch, Lijung Choi, Lisa Hofmann, Luiza Baldan+David Wagner+Nico Espinoza, Özcan Ertek and Ivana Papić, Mathias Gatti, Pharaz Azimi, Zsófia Puszt

Sensing The City - Sense Of The City, Zwitschermaschine, Berlin

Art & The City
The Salon, March


Yesterday evening, The Salon returned to the Kulturschöpfer living room for the first time this year.

We hosted three artists who, each in their own way, engage with city space in their art practices. Whether by re-purposing dis-used Deutsche Bahn signal towers, displaying 365 GIFs on a found square-format TV monitor or by creating interventions in the public space with geometric cardboard sculptures, Natalia Irina Roman, Christina Sarli and Katharina Kamph share a desire to transform the ordinary and the banal and to weave an element of wonder into everyday urban living. It was an extremely inspiring evening of artist talks, demonstrations and open discussion. Thanks to the artists and to everyone who attended or contributed.

If you’d like to see or hear more from the artists this month, you can find their websites below.

I will next be hosting The Salon on 19th May and presenting, as always, another round of exceptional Berlin-based artists. Please get in touch if you’d like to attend, or if you would like to suggest an artist to show their work at The Salon.

Natalia Irina Roman

Christina Sarli

Katharina Kamph

Natalia Irina Roman, Christina Sarli, Katharina Kamph

Install Day
Zwitschermaschine, Berlin


Yesterday was installation day at Zwitschermaschine. My work is now installed and ready for the opening of Sensing the City - Sense of the City on Friday.

If you’re in the area on Friday, come and say hello.

Friday 18th March

Projektraum Zwitschermaschine
Potsdamer Straße 161

It will be the first time in a couple of years that I’ve displayed 8am Walks in Berlin, and it feels like the work from this series is finally coming home. Actually, the two artworks in this show have literally come home from Milan, where they’ve been in storage over the last year since ReA! Art Fair.

Sensing the City - Sense of the City

Zwitschermaschine, Berlin


Has every city got its own pace?  What do we hear, see, and feel when we walk out the door into the cityscape?

Is it too loud, too fast, too trendy, too narrow, too dirty, too crowded? How do we manage not to lose track?

I’m excited to be participating in a new exhibition opening in Berlin and Lisbon next week (17th, 18th & 19th March respectively)!

The exhibition project Sensing The City - Sense Of The City aims to explore individual sensations in urban spaces. Taking place in Berlin and Lisbon simultaneously, this cross-disciplinary platform for urban art will host works in diverse shapes and different media which are accompanied by a broad range of workshops and other participatory formats.

Follow Sensing the City - Sense of the City on Instagram here

- Biblioteca de Marvila - March 17th, 7 pm
- Zwitschermaschine - March 18th, 7 pm
- ORi künstlerische Bildmedien e.V. - March 19th, 7 pm

- Wed - Fri 4-8 pm
- Sat, Sun 2-8 pm
Poster design by Anaïs Nyffeler

Ciao, 2021

A Walk-Through Guide


2021 was a wild ride 🏄‍♂️

From solo shows to collaborative projects, international exhibitions to artist talks, and art festivals to street workshops, the last 12 months offered a surreal mix of the challenging and the rewarding.

So, please put on your best walking boots and allow me to guide you through the peaks of my artistic year, step-by-step.

Route Planning
  • In January, the design of my upcoming installation YOU ARE HERE, at DISKURS Berlin, begins after a visit to the gallery. During this time, Berlin is in lockdown. Erie and quiet walks through the city inspire my series Small Victories. In February, Richard Kalman, of Crane Kalman Brighton, writes a beautiful review of my work for ArtFinder after I am selected for the Artist of the Month feature. Later in the month, I also give an interview for RAUMSPACE Festival, Kaliningrad. In the interview, I discuss my installation Common Ground: The Wallpaper Project, which was exhibited in December of the previous year.

Setting Off
  • In March, I host The Salon after a long COVID break. My guest speakers this month are Berlin artists Alice Kahei Yu, Sandra Blatterer and Phoebe Kim. In April, my application to study at Weißensee Kunsthochschule in Berlin is accepted. The following month, on an overcast May afternoon outside of DISKURS Berlin, YOU ARE HERE opens to the public. Install of the work takes two, very full, days.

  • Pressing Matters kicks off my summer in June. I spend the weekend of 18th-20th scanning people’s bodies outside of ReTramp Gallery in Berlin for 48 Stunden Neukölln. Later in the month, Routes opens to the public at Scalo Lambrate, Milan. My series Small Victories is exhibited for the first time, within the group show, as a sprawling table-top installation. In July, 8am Walks is exhibited for the first time in 2021 within the group show Obsessions, at Tête Gallery, Berlin. At the end of July, Kreuzungen is presented at LiTE-HAUS Galerie, Berlin, as a solo show that lasts one month.

Packing Up
  • In September, Small Victories is finally exhibited in Berlin within a new group show at DISKURS Berlin titled Wiedersehen. Later in the month, I give an artist talk during Berlin Art Week for Art Tours Berlin, where I discuss the installation. In October, I am selected to participate in DAS HAUS, Lab #04 - an online collaborative project running until March 2022. Weekly sessions for Lab #04 begin in November. The following month, Wiedersehen closes. After three months of public display, Small Victories is broken down and my last project of 2021 is completed.
- Northumbria Coastline, Alnmouth, UK

Exhibition Breakdown
Wiedersehen, DISKURS Berlin


That's a wrap, folks.

My last project of 2021 is officially wrapped-up, broken-down and safely stored for the winter.

Wiedersehen was a group show at DISKURS Berlin, running between September and December of this year. The exhibition publication is now available to read and download from the DISKURS site here

Thanks again to curators Anna Ratcliffe and Peter Ungeheuer!

- Wiedersehen, DISKURS Gallery (Exhibition Breakdown)

Das Haus
Lab #04


I’m pumped to have been selected for Lab #04 - an online, annual collaborative artist project coordinated by Das Haus, which will be running between October 2021 and March 2022.

Lab #04 is centred around weekly online meetings between participants and the coordinators of the program. Over 6 months we’ll be developing our practices and collaborating on some new projects.

You can keep up to date on the project here

‘This independent project intends to support professionals of all cultural and creative industries (advertising, architecture, design, film, music, performing arts, publishing, TV, etc.), through creative labs and an online creative community.

The Lab starts new editions in October. Between 2019 and 2020, new editions started in April and October. For each edition, a group of international multidisciplinary professionals is selected and united for an experimental and free concept online group.

Through video / sound online meetings, the selected participants exchanged knowledge and experiences related to creative processes and professional backgrounds, while developing their own practices together, in a safe place where technologies and location diversity agrees in an in-between.’

- Das Haus Website

Art Tours Berlin
Berlin Art Week, 2021


Until next year, Berlin Art Week!

I had the pleasure of giving a brief artist talk for Art Tours Berlin over the weekend as they made their way around Berlin’s Mitte. Thank you again Anna Ratcliff for inviting me to speak about my work in this exhibition!

Check out Art Tours Berlin here

During my artist talk on Saturday, I discussed how my series Small Victories grew slowly from the many cold and desperate walks I took through the city in the middle of lockdown this past winter. At the time, these walks provided me with an escape from being stuck inside twiddling my thumbs all day, as I waited impatiently for various forms of work to return.

To quell my anxiety, I walked.

The more I walked, the more I observed the city shifting pace... as if slowing down to meet the needs of its inhabitants. And when I look back at this series now, I’m reminded of how still this time felt. Still and yet agonising. A feeling of being off-balance, of being disconnected and out of touch with one’s very self.

I hope this tension translates into the installation.

Let me know how it reads to you.

- Art Tours Berlin, DISKURS Gallery, Sep 2021

It May Sound Utopian
Exhibition Catalogue


Earlier in the summer, I exhibited my installation piece YOU ARE HERE within the exhibition relay It May Sound Utopian, at DISKURS Berlin.

My installation was ninth in a line of ten solo shows taking place at the gallery, which all had the shared restriction that works must be viewed only through the windows of the gallery.

You can now access the full, online exhibition catalogue of It May Sound Utopian, which features descriptions of all ten artists and their works.

Find the catalogue here on DISKURS, issuu, and Adobe.

YOU ARE HERE was on display between May 27th and June 9th.

Throughout the duration of the exhibition, the doors to the gallery remained closed and visitors were instead forced to engage with the installation through the windows of the gallery only, thereby positioning themselves within the artwork when standing in front of the lens.

The title of the installation acts as both a guide and a cold fact. When observing the projection made by the camera-obscura we are reminded that, undoubtedly, we are here and nowhere else.

As we continue to experience this changing and precarious ‘new normal’ as a result of the COVID-19 crisis, with so many truths and knowns under new scrutiny and with an increasing amount of our interactions now taking place on the surface of a digital screen, perhaps modest tools are needed most in order to remind us where we truly are.

You are here, of course.
- Installation View ‘YOU ARE HERE’, DISKURS Berlin

DISKURS Gallery, Berlin


WIEDERSEHEN opened last night at DISKURS Berlin.

'Wiedersehen translates most accurately into ‘meet again’: an optimistic farewell. During the pandemic, the idea of meeting again and ‘Wiedersehen’ have taken on more gravitas due to social distancing, travel restrictions and frankly death. In England, the song made famous by Vera Lynn in the second world war had a resurgence with the iconic lines ‘We'll meet again. Don't know where. Don't know when. But I know we'll meet again some sunny day’ capturing both the uncertainty and need for hope felt by many.

This wartime rhetoric continued in many other places. The German government took on a satirical approach, making adverts depicting elderly men talking of medals and the fate of the country, only to discover that they are speaking to us from the future looking back on 2020, stating: "Our couch was the frontline and our patience was our weapon". Additionally, in Denmark, the word ‘samfundssind’ has had a revival. Meaning community spirit or civic-mindedness, ‘samfundssind’ entered the dictionary in 1936 and was used in speeches leading up to WWII but was utilised by the current Danish Prime Minister Mette Frederiksen in March 2020 to speak about the pandemic and the word has boomed since. All of this is to say, society’s rhetoric changed. There was now a need for a collective mentality that hasn’t been seen in many western European countries since wartime.

The ideas of individualism and collectivism are often seen in direct opposition to each other, but they can be complementary constructs. In Germany, we live in a country that places importance on the hopes, freedoms and self-expression of the individual. However during the pandemic, the group became the priority over the self. Certain rights and liberties had to be conceded for the protection of the whole, giving way to social distancing, mask-wearing and adherence to rules. It is often seen that individualism leads to innovation and puts value on self-expression and civil freedoms, all positive attributes, but the pandemic has come at a time of hyper-individualism where self-interest has taken over with a disregard for society. As we stand in the face of the pandemic, along with global crises like climate change, inequality and increasing wealth gaps, ideas of collectivism could aid us as we move forward.

To mirror this in the group exhibition, artists that took part in the mainly solo exhibition series come together. The 23 artists, that previously had individual platforms, sacrifice a bit of autonomy to form a collective and exhibit alongside each other.'

- Anna Ratcliffe, Curator

- Opening of Wiedersehen, DISKURS Berlin

DISKURS Gallery, Berlin


‘WIEDERSEHEN is a group show uniting the artists who have shown their works through the windows of DISKURS Berlin during two series of exhibition relays, ‘Solidarity, FightBack, SunGoesUp’ in 2020 and ‘It May Sound Utopian’ in 2021. Interestingly, most of the artists have never met before in person. It is the first opening after 18 months of closed doors and sets the stage for a post-pandemic phase, without knowing what remains and what changes.

The eyes, associated with seeing (‘Sehen’) are, since Aristotle, considered the most important of our five senses and for sure the one which first comes into one’s mind when we think about art. But "Wiedersehen" has the connotation of meeting again, which comprises all of our senses: we encounter something familiar in a different way, in an unprecedented context, with new expectations and reactions.

As we say in German: "Wiedersehen macht Freude" or the joy of reunion is something that we all hopefully experience these days – seeing each other again. While keeping contact in smaller circles and virtual meetings, a physical ‘Wiedersehen’ seems irreplaceable for us since we longed for it.’

Anna Ratcliffe
Peter Ungeheuer

9th Sep - 4th Dec 2021
Opening: Thursday 9th September 2021,  6–9 pm

Find the event on DISKURS here

DISKURS Gallery, Berlin


Next show coming up:

Wiedersehen, at DISKURS Berlin

Curated by Anna Ratcliffe and Peter Ungeheuer

9th Sep - 4th Dec 2021
Opening: Thursday 9th September 2021,  6–9 pm

Find the event on DISKURS here

is a new group show featuring the many artists who have presented their work at DISKURS Gallery since the beginning of the Corona Crisis last year.

I’m really excited to be finally presenting Small Victories in this show, as it will be the first time that this new series has been exhibited in Berlin (where the series was shot). Small Victories was started in March 2020 to record subtle changes within the city as a consequence of the pandemic. It was first exhibited in July at Scalo Lambrate, Milan, within Routes.

Check out Small Victories here

It’s a pleasure to be presenting work alongside these amazing artists:

Erik Andersen, Inna Artemova, Birte Bosse, Jérôme Chazeix, Sandra Hauser, Gregor Hildebrandt, Bethan Hughes, Yukiko Jungesblut, Zinu Kim, Jeremy Knowles, Kodac Ko, Jay Lee, Jeewi Lee, Yiannis Pappas, Fabian Reetz, Thomas Rentmeister, Elinor Sahm, Laura Schawelka, Merani Schilcher, Lorina Speder, David Szauder, William Winter, Hana Yoo

More updates to follow.

LiTE-HAUS Galerie + Projektraum


Yesterday evening was the opening of a new group show I am very pleased to be participating in, at LiTE-HAUS Galerie + Projektraum in Neukölln, featuring artists Sandra E. Blatterer, Joachim Ramin and yours truly.

Technically the exhibition is three solo shows in one, so it's a little hard to give it a title. But I like the board I found outside of the gallery last night:

3 Künstler
3 Raumen

That fits nicely.

Each artist in this show utilises light within their work, engaging visitors to the space in a physical or material conversation where participation and movement are sometimes required. I’m so impressed by the works of fellow artists Joachim Ramin and Sandra E. Blatterer - I highly reccomend going to see their work. For my own part in the show, I am presenting work from my 2020 series Kreuzungen, which consists of nine lightboxes housing film negatives.

You can find more information on Kreuzungen here
Check out the event page on LiTE-HAUS here

LiTE-HAUS Galerie + Projektraum
Mareschstr. 4, 12055 Berlin

Opening: 22 July, 6pm
Running: 22 July - 25 August

‘LiTE-HAUS again welcomes artist Jeremy Philip Knowles who has created an interactive exhibition using lightboxes. Using a free smartphone app, visitors can discover areas of Neukölln in Jeremy's lightboxes.’
- LiTE-HAUS Galerie + Projektraum Website
- Kreuzungen, LiTE-HAUS Galerie + Projektraum

Tête Gallery, Berlin


Obsessions is a new group photography exhibition at Tête Gallery, Berlin, featuring artists who explore (you guessed it) obsessions within their work - curated by Bénédicte Blondeau, founder of Photography Exploration Project (PEP).

The show opened to the public yesterday evening and I highly recommend going to check it out if you’re in Berlin, not least because my work is included in the collection! Bénédicte has curated the space at Tête Gallery beautifully and it’s a pleasure to have been invited to contribute one of my pieces.

Check out the PEP page here

Tête Gallery
Schönhauser Allee 161A
10435 Berlin

15-25 July
Wednesday-Sunday, 2-8pm

In their creative practice, many artists gravitate towards certain ideas that are intruding on their mind and to which they keep on returning over and over again - some forms of obsessions that drive them to create. The extraordinary perseverance and the willingness to take risks that arise from them are often the driving force that feeds artists’ productivity, allowing them to grow in their practice and deliver exceptional outcomes while expanding their singular universe.

- Photographic Exploration Project

- Installation View, Obsessions, Tête Gallery, Berlin

- Installation View, Obsessions, Tête Gallery, Berlin

Scalo Lambrate, Milan


Today is the last day to visit Routes at Scalo Lambrate in Milan and to see my installation Small Victories.

Although I, unfortunately, haven’t been able to visit the show in person (due to predictable Corona restrictions), I’ve been kept up to date by the curators of the show over the past couple of weeks and it’s been so rewarding to hear the reactions from visitors.

It's amazing to finally see my ideas turned into reality, even from a distance.

So, I need to say a massive thank you to everyone at ReA! who helped to make this exhibition happen - especially curator Paola Shiamtani for supporting me throughout the process since last year and to (hero) Giacomo for constructing my installation under pressure. So grateful!

Scalo Lambrate
ReA! Art Fair

Fri, Jun 25 to Sun, Jul 11

Scalo Lambrate
via Pietro Andrea Saccardo `12
20134 Milano

Alessio Guarda, Alisa Chunchue, Dominique Cro, Giacomo Zornetta, Jeremy Knowles, Peng Shuai, Clara Rubin, Lorenzo Papanti, Kim Gromoll, Leo Cogliati
- Small Victories, 2021

Scalo Lambrate, Milan


Routes opens today at Scalo Lambrate, Milan!

This show has been a long time in the making and I’m really excited to see it all finally come together. Unfortunately, I can’t be there in Milan to see the exhibition in person, but I’m looking forward to getting updates from the curatorial team. If you’re in Milan to see Routes, send me a message and tell me what you think.

I am presenting unpublished work from my new series 'Small Victories', which acts as a personal diary of my observations in Berlin during months of lockdown, since March 2020. 

Over this time, it has been fascinating to notice and document physical changes in the city, and to see the effects of the pandemic left around Berlin in so many subtle ways.

For Routes, I have designed a standing wooden structure to house small prints from this series. The structure snakes through the industrial space of Scalo Lambrate and appears off-balance. My aim in designing this installation was to communicate uncertainty and instability - emotions that many connect with this time. As an artist living in Berlin during this pandemic, and having been largely unemployed over the last 18 months, my walks through the city have offered brief moments of creative relief from a downright miserable time.

Small Victories will be published online shortly.

Scalo Lambrate
ReA! Art Fair

Fri, Jun 25 to Sun, Jul 11

Scalo Lambrate
via Pietro Andrea Saccardo `12
20134 Milano

Alessio Guarda, Alisa Chunchue, Dominique Cro, Giacomo Zornetta, Jeremy Knowles, Peng Shuai, Clara Rubin, Lorenzo Papanti, Kim Gromoll, Leo Cogliati

- Small Victories, 2021

Pressing Matters
48 Stunden Neukölln


It’s all over, folks.

Scans are complete.

Thank you so much to everyone who participated in and contributed to my project Pressing Matters this weekend for 48 Stunden Neukölln. Many things were scanned. Many things (thankfully) were not scanned.

I’ll just have to find a clever way of pulling together all these lovely scanned body parts to make something especially interesting some time in the future. More to follow on that later.

I want to say a massive thank you to Verity Oberg from ReTramp Gallery for hosting me this weekend and of course to the organisers of 48 Stunden Neukölln for accepting my proposal and supporting me in realising this project. It’s been a very fun, experimental few days scanning bodies on the street. The return of this festival is a huge step forward towards re-starting the arts and culture in Berlin.

It’s long overdue.

And we’re ready.

Keep your eyes peeled for my next exhibtion Routes, which opens this coming weekend at Scalo Lambrate in Milan. Routes is a group show presenting new work from the recipients of the ReA! Art Prize in 2020.