"Uns geht es gut"I had the pleasure to work with director Henri Steinmetz as still photographer on his debut feature film Uns geht es gut. The movie is released in cinemas since January 2016. These are portraits of the four actors.

“Fünf junge Menschen, die im Zustand ewiger Sommerferien stehengeblieben sind. Alleine gelassen bilden Tubbie, Tim, Jojo, Birdie und das Mädchen Marie eine Ersatzfamilie. Ziellos, sehnsüchtig und hungrig wie wilde Hunde, streunen sie durch eine anonyme Großstadt. In der flirrenden Sommerhitze erleben sie gemeinsam noch einmal flüchtige Momente des Glücks. Doch die Gemeinschaft bekommt allmählich Risse…” (Text: Webseite Uns geht es gut, X-Verleih)

"Third Nature", 2015In November I started to work on a new project in Italy. The work focuses on the tragedy of the Vajont dam disaster of 1963 and is part of the CALAMITA/À project. CALAMITA/À is curated by Marina Caneve and Gianpaolo Arena.

Night Climbers of CambridgeThe German newspaper Der Freitag printed a photo from my “Night Climbers of Cambridge” series via Ostkreuz archive. The photo illustrates the interview with the former editor-in-chief of The Guardian Alan Rusbridger.

CALAMITA/ÀOn the 6th of Nov 2015 I talk about my work as part of the CALAMITA/À workshop. For the full program, informations about the participants and the locality, please visit the CALAMITA/À workshop page.

“The CALAMITA/À project is a tool for investigating a territory which, through organized research, wishes to explore the changes in progress, generate questions, reveal critical points and attract interest and awareness concerning a crucial place that is still being defined. Territorial morphology, orography, infrastructure, architecture and social context are all elements for broadening the analysis. Art, sociology, urbanism and photography contribute to the definition of the project through an open, multidisciplinary approach. This plurality of visions is aimed at transforming the territory in question into a laboratory and space for privileged observation.” (text: CALAMITA/À web page)

"Still Hunt"Still Hunt is now online. The series was realised during the Serre Salentine Residency in South Italy in August 2015 and is part of Bitume Photofest, Gallipoli, Italy. The complete work and a text can be found here: Still Hunt

"Full Moon", Installation View, Gallipoli, ItalyInstallation view, Bitume Photofest, outdoor exhibition, Gallipoli, Italy, September 2015.


My new series I Was Born In a Country That Doesn‘t Exist Anymore is part of Bitume Photofest, Gallipoli, Italy.

Location: Gallipoli (Le), Italy
Preview: 19th Sept from 5pm
Exhibition continues: 20th Sept – 27th Sept

Participating artists: Fabrizio ALBERTINI (IT) / Gianpaolo ARENA (IT) / Ekaterina ANOKHINA (RUS) / Francesca BELLINO (IT) / Luca CASONATO (IT) / Enrico DI NARDO (IT) / COLLETTIVO DOMINO (IT) / Francesca FIORELLA (IT) / Lucas FOGLIA (USA) / Jillian FREYER (USA) / Fernando GALLEGOS (MEX) / Robert HERMAN (USA) / Martina MAFFINI (IT) / Eugenia MAXIMOVA (BG) / NASTY NASTY (IT) / Marita PAPPA (GR) / Iacopo PASQUI (IT) / Aminta PIERRI (IT) / Niccolò RASTRELLI (IT) / Arianna SANESI (IT) / Thomas SAUVIN (F) / Gregg SEGAL (USA) / Mika SPERLING (GER) / Alnis STAKLE (LV) / Jan STRADTMANN (GER) / Clara WILDBERGER (AT) / Daan ZUIJDERWIJ/Maaike VERGOUWE (NL)

"I was born in a country that doesn‘t exist anymore"I Was Born In a Country That Doesn‘t Exist Anymore, 2015, series of 28 photographs (incl. found footage and reproductions), various dimensions. Ongoing research.

The series „I was born In a Country That Doesn’t Exist Anymore“ is a visual account of the state of affairs of the south of Italy. Consisting of photographies as well as found footage, the narrative builds up on the connection of recurring images and references that revolve around the Cimitero Monumentale, a cemetery in Parabita in the region of Lecce. Planned and designed by the architects Alessandro Anselmi and Paola Chiatante, the cemetery was inaugurated in 1982 when its dilapidation was concurrent to its initial operation. Today, 33 years after its implementation, parts of the cemetery are in danger of collapsing and no longer open to the public. It is unclear whether this decay is an effect of a conscious decision or whether it is due to negligence. However, these two poles reveal the collision of modern, respectively postmodern promises and traditional tendencies in Italian culture.

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