The stage is a working space
From 2007 to 2016 I worked as a freelancer with Fred Berndt and his practice, “Regie und Raum”. My work included assisting with direction and stage design, and programming stage-control systems. Technical implementation was not an appendage to the artistic idea. It helped determine what the space could do, what could appear and vanish, and how precisely a performance understood its own sequence.
Fred Berndt died in 2020. His historical website continues to document his work. My years working with him are recorded in my earlier curriculum vitae; the website is an archive of his practice, not an employment reference about me.
At the borders between art forms
My collaboration with Alfred (Alf:a) Banze takes this experience elsewhere. Film, stage, drawing, music, shared research and artistic advice meet. On Atomic Gauguin (2021/22) I contributed to camera work and artistic assistance. Banze credits me for artistic advice on Ich Santana (2025) and On Stage – Am Bühnenrand (2026).
What interests me is not the classification of these projects as one kind of art or another. It is how different materials and practices come together to produce a scene, a voice and a position.
What remains of an idea
With Karl Heinz Jeron I developed 7vst. The project reached an advanced pre-production stage but was never realised in its intended form. What remains publicly available is the teaser of 20 April 2018 and the pitch of 21 April 2018. Both credit the two of us. They document a developing concept, not a production premiere.
Unfinished work belongs in an artistic history. Not everything imagined, tested and developed reaches an audience in its intended form. Sometimes an idea survives by continuing to work within the next project. Jeron's own practice with sound, rule-based systems and technology extends this conversation in other directions.
Not a list
This is neither a ranking of names nor an inventory of exhibitions. I care about working relationships in which ideas can be challenged and disagreement becomes productive. A distinctive artistic voice does not arise without other voices — but it remains responsible for its own decisions.