Whatever Michael Says is True, 1.3 min, video work

This video art piece reimagines gender roles in the 1970s classic Miami Vice featuring Pam Grier. By appropriating and re-editing scenes from the film, the artist recasts the female protagonist as a powerful superhero—subverting the original narrative in which she is rescued by a male counterpart.

The work culminates with the phrase “Whatever Michael Says is True…”—a line sourced from a Google search about truth. This closing statement destabilizes cultural and gender conventions embedded in both cinema and language, prompting viewers to reflect on how narratives shape power, authority, and belief, and to confront their own assumptions and biases.

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Girl Descending Staircase, 7.5 min, video loop

In Girl Descending Staircase, Lakshmi Rajaram—a cancer researcher with a PhD in Molecular Biology from SUNY Stony Brook—is depicted walking down the stairs to her laboratory until she reaches a point of physical limitation, unable to ascend again. The footage is looped into a video installation that highlights the physical and emotional demands of scientific research, while evoking broader themes of endurance, perseverance, and human constraint.

At the same time, the work directly references a lineage of male-created artworks bearing the same title, in which women are often rendered as passive subjects or aesthetic objects. By centering a female scientist, the piece subverts this tradition, challenging the persistence of the male gaze in both art and science. In doing so, it repositions the woman not as an object to be looked at, but as an active figure of knowledge, agency, and resilience.

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Girl Talk, 3.5 min, video work

This artwork examines the intersection of gender emancipation and communicational stereotypes. Participants were presented with a question—kept undisclosed to the public—and their responses were captured exclusively through digital photography, without the use of sound. By withholding both the question and verbal expression, the work shifts focus to gesture, presence, and visual cues, inviting viewers to consider how meaning is constructed beyond words.

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Superman, Can You Hear Me?, four channel video installation, 3 min

This video installation investigates the mechanisms of media propaganda and its imprint on personal life. Through a layered interplay of sound and image, the work examines the pervasive reach of popular media—focusing in particular on the superhero obsession that saturates contemporary U.S. culture.

The soundscape is constructed from appropriated audio clips drawn from reality television, news broadcasts, films, and other media sources. In contrast, the visuals present intimate snapshots of young people in their everyday environments, offering subtle glimpses into how mass media narratives seep into and shape daily existence.

Together, these elements form a critical reflection on the construction of reality through mediated images and sounds. The installation invites viewers to question their own relationship with popular culture, and to consider how deeply collective myths and media messages inform both personal identity and social imagination.

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Why where, 1.5 min, video work

This video art piece captures the vibrant pulse of New York City through footage of anonymous individuals and crowds in iconic locations such as the Apple Store, Central Park, and Chinatown. (This excerpt focuses on the Apple Store on Fifth Avenue.) By re-contextualizing and distilling the material, the artist isolates recurring patterns and principles of movement, uncovering an underlying choreography within the everyday.

In highlighting these hidden rhythms, the work invites viewers to recognize creative order and meaning within what might otherwise appear random and spontaneous.

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Performance Exercises, 12 min, two channel installation

This video installation emerges from a dynamic collaboration between the artist and the musicians of Tasogare World. For the work, the musicians were invited to improvise in response to their own soundscapes, drawing inspiration from selected scenes of iconic films—all within the gallery space of Ballhaus, Düsseldorf.

The resulting multichannel installation interlaces their improvised sound with footage of their performances, creating an immersive dialogue between image and music. At its core, the piece explores improvisation and play as catalysts for learning, discovery, and transformation, offering a renewed perspective on the nature of creative exploration and artistic collaboration.

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Why Study Philosophy, video work, 11 min

This video investigates the relationship between causality and narrative, drawing inspiration from the radical insights of philosopher David Hume. Through a sequence of seemingly unrelated shots, the work unsettles conventional expectations of cause and effect, prompting viewers to reflect on how meaning is constructed from fragmented or disparate events.

Although it resists a linear storyline, the piece invites active interpretation. Viewers are encouraged to navigate shifting themes—revolution, anger, revenge—finding their own pathways through the material. In doing so, the work becomes less about definitive answers and more about the multiplicity of possible readings.

Engaging with Hume’s provocative ideas on causality, the video highlights the limits of objective truth and foregrounds the role of subjective perception in shaping our understanding of events. By destabilizing narrative certainty, it asks us to reconsider how stories are made, and opens a space for ambiguity, play, and creative re-imagining.

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Tell Me More, excerpt from a multi channel installation, ongoing project

This video art piece explores an experiment in communication across different mother tongues. The artist invites participants to engage in conversation using their native languages, even though none of them understand the others. A topic is proposed— for example in this case— a visit to Andreas’ studio—but the flow of dialogue is left entirely to the participants, unfolding in ways that are at once fluid and fragmented.

The work captures exchanges ranging from light introductions to deeper reflections on love, relationships, and mortality. Later translated and subtitled, the footages invites viewers into an immersive experience of both the spoken and the unspoken.

Titled Studio Visit, the video here features conversations in Spanish, Hebrew, and Norwegian. As the dialogue unfolds, language itself begins to transcend its original function, transforming into a kind of “language sculpture”—a fluid, abstract form of expression. In this way, the piece challenges conventional ideas of communication, opening space for viewers to reconsider what it means to understand, and to be understood.

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2068 km, essay

This video piece traces the journey of an immigrant who moves between their host and home country, caught between feelings of belonging and estrangement in both places. The protagonist experiences a dual condition—at once at home and yet alienated—ultimately embracing this tension as a source of insight rather than a limitation. The work is inspired by Julia Kristeva’s Strangers to Ourselves, which reflects on displacement and the state of existing “nowhere” by being “always elsewhere.” At its core, the piece suggests that foreignness is universal: “The foreigner is within me… If I am a foreigner, there are no foreigners.” (J. Kristeva)

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Lose Leute, documentation

Performance Lou Baltasar NKR, 11.09.2020 as part of Trickster, “Lose Leute”

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Constellations, documentation

Time-lapse documentation of the making of the Constellations Series.

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