20. UNDER|DOX 09-15 OKT 2025

Leidende Frau | 2025

3:21 min | Video, Sound | English

A constantly changing collage of images, consisting of edited stock photos of women, accompanied by Britney Spears’ 2008 hit “Lucky.” As the women in the images appear increasingly injured, they become more and more similar – it seems as if only one woman is being shown. The video and its effect stand in stark contrast to the rest of the installation: the setup resembles a karaoke station with a hand mirror and microphone, a ring of smartphones ready to livestream or record for a social media platform. And finally, a TikTok filter with the provocative question “Which suffering woman are you?”

Kunstkollektiv Hybris Founded in 2017, the Munich-based art collective uses performance art to address issues such as digital injustice, gender bias, and care work from a FLINTA* perspective.

Instagram: @never_heard_of_hybris

Ich lag noch nie so gut | 2025

3:19 min | Video, Sound | German

With the performance installation “Ich lag noch nie so gut” (I’ve never been so comfortable), the art collective Hybris processes personal experiences with family care work. Based on their father’s frequent falls, the artists stage their care work with a red carpet. Lifting and helping up becomes a physical and emotional gesture between intimacy and public display.

Берлін-Ліхтенберг / Berlin-Lichtenberg / Берлин-Лихтенберг | 2024

7:20 min | Video | Ukrainian, English, Russian Intertitles

Images from a home movie from 1943. The filmmaker’s intention to capture moments of family life in Berlin’s Lichtenberg district – his wife and child on a walk, leisure time in a restaurant by the lake – is undermined by unintended content. In the background, a group of female forced laborers on their way to work, barracks of a forced labor camp visible behind the restaurant. The amateur footage was re-edited for the video and given intertitles that contextualize the silent images and provide an additional, fictional layer.

finis horizontis (24/7) | 2024

24/7 Livestream | Closed-Circuit Videoinstallation

The projection of a horizon line, including the current time stamp – but the date is 59 years in the future. The horizon is produced by a video camera focused vertically on the room corner and transmitted to the projector. finis horizontis (Latin for, among other things, “limited field of vision”) develops the slightly overused subject from three-dimensional space onto a two-dimensional surface, stretching it (infinitely) in the fourth dimension of time and oscillating between a motif of longing and apocalypse. The live character remains irrevocably fractured by the future date.

Drei Hauben | 2024

12:35 min | Video, Sound | German

Three 19th-century Swabian traditional bonnets, important components of women’s traditional costume, come to life in stop motion. They communicate with each other and with the viewers through movement and whispering voices. The intertwining forms repeatedly create recognizable symbols, while the voices whisper of violence. The use of objects with explicit feminine connotations sets an inherent theme and develops an almost anthropomorphized characterization of the bonnets.

Sagabona Kunjani Weena | 2024

4:42 min | Videosculpture 

A multilayered, colorful, confusing play of light and color. Small frogs run disoriented across the image, boiling water, confused fragmentary texts flicker syncopically in the distorted reflection of the plastic foil. In the middle the text fragment “Sagabona Kunjani Weena” from the 1989 hit single “Bakerman.” Society can be imagined as frogs trapped in their good-natured inertia, optimistically talking themselves into believing the situation is fine. They are bombarded with cryptic, brightly colored motivational slogans of a sarcastic, Dadaist variation.

Soft noise in darkness | 2024

3:16 min | Video, Sound 

Emotional fragments, a state of pause, fragments of reality. An experimental film about the suspended state of mind when unwanted memories intrude into consciousness, leaving one in a hazy feeling between closeness and uncertainty. Shot on Super 8 film, converted through a chemical reaction, resulting in unique, non-reproducible color changes.

We Don’t Know How To Cry | 2025

11:40  min | Video, Sound | English and Korean Subtitles

A narrator without a voice, somewhere between human and animal, vague but understandable thanks to subtitles, opens up the tenous relationship with nature: the attempt to understand the Otherness of this perspective fails precisely because of the elusiveness of what is being narrated. In the monochromatic shots of landscapes and birds, the narrator becomes understandable as a “therian,” a human being who believes that part of their soul belongs to a bird.

Token of One Hour | 2025

3:22 min | Video, Sound 

Remembrance work for the victims of a tragedy that has remained unsolved for over 10 years: the capsizing of the ferry Sewol. Over 300 people lost their lives, including 250 students between the ages of 15 and 18. In intricate stop-motion animation, a fantasy world simultaneously depicting an almost utopian afterlife for the dead and a seemingly dystopian world for the bereaved is constructed. Without language, accompanied by a soundscape of deep-sea noises, criticism of the capitalist system becomes clear – and the seemingly endless amount of work required for a fleeting moment of happiness.

2024 (2023) | 2024/25

64:25 min | Video, Sound, Oil on canvas | German

Making visible, becoming visible. The documentary aspects of filming them supplement the paintings and drawings with their circumstances of their creation. The juxtaposition of everyday motifs in the context of family life and the painting during its creation is made visible through the camera of a smartphone. As a street painter, the artist himself becomes a motif in front of the Jewish Museum, the House of German Economy, and the American Memorial Library: painting within the film opens up a multi-layered complexity of images and a diary-like visual experience.