Hugo

Stage design for the play “die Hölle ist leer” by Fabio Thieme and Alex Cocotas performed at the Ernst Busch University

In this work, I use the angel as a metaphor for new technologies and media.Angels can be described as messengers, transmitting signals and information from a divine source to Earth. They are also imagined as recorders: filming, archiving, and creating vast databases or surveillance networks that claim to know everything, even our deepest desires and sins. This raises the question: can angels be seen as our protectors, watching over us even as we sleep? Or are they better understood as surveillant monitors, governing and controlling human behavior? I am interested in how technology penetrates our bodies how algorithms shape our being through constant biohacking, blurring of boundaries between the material and the digital. While at the same time, algorithms and artificial intelligence are trained and coming to presence only through human data. Group Exhibition at Ballhaus Ost, Berlin Installation and programming: Hannah Borghese Sound: Beril Evlimoğlu ...

Installation together with Ria Ockenga and Luna Ehrenstein at Kunstraum Kreuzberg, as part of the group exhibition “Elastic Dogmas,” organized by Room to Expand (UdK Berlin)

Installation shown in Magma Maria Art Space, Offenbach A game or digital world that you can explore and experience its essence and secrets. This world is in the process of dissolving at the frayed edges of our world, or one that is composed anew from different fragments. Lonely, scattered, a little ghostly in the landscape, there are beings to whom you can ask questions. The answers: an incomprehensible language whose sound and melody resonate with feelings and expressions that can be interpreted in their own way. It gives a sense of the beauty of an unfinished idea, of not understanding something in its totality and to notice the loose connection. The shapes of the world were inspired by many analog sketches that I made over this period, were simultaneously influenced by the digital work, and can be found as material on the shapes in the world. I see them as small memories of the beings and therefore show them in a separate room together with prints of the beings. By understanding the cracks as something that can be filled or used to draw further, and by not seeing objects and bodies as closed entities, it becomes possible to absorb worlds in a different way. There are no rules and no linear gameplay, the focus is on perceiving the land and soundscape. In the final scene, all the creatures find themselves intertwined in close proximity. A frightening or beautiful intimacy in in which all the sounds come together.

Installation in Magma Maria Art Space in Offenbach Mechanical-technical shapes printed into a nylon net with a 3D printer. The net resembles peeled and stretched skin, evoking the image of a body or stripped flesh. It is permeable and interwoven with an ornamental structure. From the shells beneath the skin, it either feeds from them, or the skinned parts fall into it The installation was developed alongside my thesis and was inspired by it. It explores queer utopias and the transformative potential of art to challenge prevailing aesthetics, which are shaped by the constant repetition of certain structures that appear natural to us. I discussed these ideas in conversation with theorists such as José Esteban Muñoz, Sara Ahmed, and Timothy Morton, and their writings on queer utopia, orientation, and the critique of normative aesthetics. The work uses cartography to describe the one-dimensionality of the heteronormative world. To challenge these destructive conditions, it is important to understand their methods. I examined the processes and patterns through which aesthetics and power structures emerge. Objects like maps or butterfly collections represent systems of control, classification, and display. They are symbols of colonial and patriarchal order. With the presented collection, I wanted to aestheticize exactly this violence. It shows something beautiful once alive, now locked behind glass and pinned in place. A collection organizes and defines, echoing colonial and patriarchal thinking. At the same time, the butterflies hold the potential for transformation and the possibility of escaping rigid categories. For me, they stand for queerness, tenderness, and the ongoing process of metamorphosis. In my imagination, they break free from the collection at night and fight back. The three-dimensional forms can be shown as flat pattern templates or maps made of polygons that describe the surface of the body. By reducing them to this function, by seeing the form as one-dimensional, I can paint on them, project images onto them, and stamp them. These surfaces become projection sites for external ideas and ideologies. Images are projected onto the butterflies, and they are marked with patterns. These are not neutral bodies; they are inscribed by memories and power structures, leaving behind scars or tattoos.

Installation in TOR Art Space, Frankfurt a.M. In this work I combines real-life footage and 3D modeling by using photos and videos as materials, which are projected onto flat surfaces within the digital space. My attempt was to create a sense of something being slightly off beneath the surfaces. The artificial look and cleanliness of the sculpted world, along with unusual lighting and distorted perspectives, are meant to feel subtly unsettling. These digital spaces are imagined without the presence of human beeings, still showing a human-made environments that seem abandoned or disconnected. Video and Installation: Hannah Borghese Sound: Beril Evlimoğlu

A collection of sketches, paintings, photographs, and videos I’ve created over the past years. Your browser does not support the video tag. Your browser does not support the video tag.

An installation in the basement of the old police station in Offenbach thematizing police violence and forms of resistance and protest. A true-to-scale barrier block, or anti-terror block, stands in the middle of the room. It is not made of concrete, as usual, but of soft foam, and in this way resists the brutal image that the blocks create when lined up in public spaces. Footage of demonstrations and police violence is shown on several screens, original archive pictures of the May Day demonstration where Günter Sare was killed by the police can be seen on the ground. For the installations with audio scenes “I thought I had screamed, but then nobody heard it” by Malin Lamparter, I created various installations. It was about the culture of protest during Corona: What form of protest is regulated in this situation and which can take place? What are the possible reasons why the memorial ceremony in Hanau had to be canceled despite the hygiene concept, while the anti-corona demonstration in Berlin was able to take place despite expected violations of the regulations? And how is the protest culture developing under the influence of the pandemic? To investigate these questions, we worked on 5 installations that deal with different protest movements of the Corona period. What are their strategies? And how did society, politics and the police react?

An installation on the subject of childhood patterns.Also realized as a stage set in the play ‘Stolz und Vorurteil oder wie Bärchen alle Tiere vor der Flutwelle rettete’ by Malin Lamparter in the LAB Frankfurt. The videos were created from analog sketches mapped onto frame-by-frame video material I recorded. In the installation, they were projected in parallel onto the fabric.