Far Field combines abstract computer-generated images with abstract electronic music. It treats sound and video as equal elements. The visual layer browses abstract surfaces and textures with fragments of a human face repeatedly appearing as some kind of 'tromp l'oeil'. The sound layer defines the flow and dynamic range of Far Field with the music being closely entangled with the visual events. The subtle pulse of the basic sound element and the melody line reflect the images. They pull the viewer deeper into the visual territories of the piece.
Austrian playwright Arthur Schnitzler depicted in the early 20th century the human soul as a vast landscape ('weites Land'). In that sense the visual and audible landscape addresses mental processes: elusive perceptions like a landscape passing by, continuously mutating forms where we suppose to recognize familiar patterns and fragments of memories, connotations of images and sounds, approximation and distance, the wider view of things.

Memento is an interactive video installation that allows interaction between visitor, machine and other visitors through time. Each visitor leaves his/her shadow behind to interact with other people creating a virtual environment where all the shadows of former and future visitors are interacting together.

Soviet Unterzögersdorf (pronounced 'oon-taa-tsee-gars-doorf') is the last existing appanage republic of the USSR. The enclave maintains no diplomatic relationship with the surrounding so-called 'Republic of Austria' nor with the Fortress 'European Union'. The downfall of her motherland -- the Soviet Union - in the early 1990s had a particularly bad effect on the country's economic situation. It is a great challenge to secure survival for the small but proud confederation. External reactionary forces put the country in danger. It’s a lack of respect due to a morally corrupted and perhaps even non-existing unity of the peoples. The goal of a glorious future is almost unreachable. But there are a handful of people who don’t give up on a vision for a better tomorrow. Let us tell you the stories of the brave citizens in the beautiful little country of Soviet Unterzögersdorf. It’s a story that will go into history.

Five cities in five nights. The night consolidates and directs the gaze. Darkness creates intimacy. Residents of the city equipped with headlamps lead us to special places of their choice, behind the facades of tourism. From Thessaloniki in the southeast through Novi Sad, Linz, Essen, to Liverpool in the northwest, the journey takes us diagonally all the way through Europe.

Fiction is about a series of imaginations, architectural photos and landscapes play a major role. By projecting videos from a running train various pictorial spaces are created, which are somehow interrelated like a memory, where a simple, insignificant detail can lead to the whole ‘film’. The situation imagined is transient, a stopping of time in motion.

Authority is an interactive video installation where the sound is the tool for the power arrangement. You are facing a policeman and He starts to yell with you. Depends on your reaction this situation can change.

In this installation – originally designed as a video game – the player can slip into the role of a George W. Bush, Osama Bin Laden or Tony Blair and haunt the (game)world with the respective identity. By recording outlines and movements of players via camera and projecting it in real time and size onto the wall, the voluntary players become pieces of the game - their task is either to avoid contact with tanks, submarines or warships of the enemy, to collect oil refineries and Dollar bills or to fight desperate civilians to get to the next level of the game. On one the hand (t)error depicts the cynical discourse on events and the doubtful motives of the war in Iraq on the other hand this piece is an attempt of criticism on today’s game and media culture, characterized by consumption and fun. Using the medium computer game is an irony in itself.

Starting from the continuous filming of a clock's display for two minutes, the video was processed in a realtime-programming-environment for video. The individual frames were then printed on paper and subsequently redrawn frame by frame in charcoal and oil paint. Scanned back, the frames were animated as the final video. The goal of this video was then to explore the idea of time in the crossing of analogue and digital techniques: starting from 2 minutes, reducing the video to 6 single images and then expanding it once again to 2 minutes, restoring the loss of quality introduced by the digital/mechanical manipulation trough the use of diverse analogue/manual recreations of each discrete frame. In the end, the symbolic representation of time is no longer readable but time and the mechanisms for representing and capturing it are felt all along the piece.

A found footage film, which will exist both as a single screen as well as double screen version. It uses an Italian sixties softporn soundtrack which is repeated two times. Each time a sequence of images is synched to the soundtrack. The film images are illustrating acts of ocular light perception as well as imagery with strong visual impact. It is a kind of visual test directed towards the viewer.

The town appears in all its facets: streets, buildings, métro platforms, etc. Movements or immobility, chaos and geometric lines: forms oppose one another and repeat themselves, and appear to think all by themselves. A familiar landscape, made even more legible by the sharpness of the framing and editing. However, the familiar remains strange. Too close, bogged down in urban matter, we see without understanding, incapable of naming the malaise that haunts us.

An army of Clones walking up to the recipient, producing a rusty sound of steel.

Perceiving perception: Through media, this is simultaneously possible and impossible. The important thing about moving images is what is moving rather than what is causing the movement. But the fact sometimes tends to be forgotten that the animated image could not exist without the viewer's illusionary assumption that he or she is not seeing individual frames but continious motion. As a result, it should not surprise when film or videographic experiments are at their core reflections on forms of perception conveyed through various media, their purpose to make accessable the circumstances under which sensuous experiense takes place, which are directed by the media.

The ultrashortmovie real. is playing with the perception of reality. Games are getting real - reality turns into a game.
In this video the computer monitor becomes the leading actor who is challenging himself twice - in form and content.

A Mitose similar form becomes here the digital metaphor for the reciprocal effect between humans and technology. In the beginning of a technical reproductibility of humans and its pictures, questions about individuality (uniformity) must be newly asked. Life in the Square outlines the role of humanity in a 'post-human' age.

In Tomatoheads nothing realy special seems to happen: a regular couple doing regular things. But something is getting strange in their way to behave, that the spectator cannot read clearly. The world seems to be more and more “turned around”.