2025 In the Round gathers the many voices of protest and dissent, restaging mass demonstrations within a virtual environment. Figures warm up at the centre before breaking across fields of bright yellows and reds. Chants drift through layered archival sound as cracked loudspeakers flicker and sirens stretch into strange melodic lines. A theater stage, completely encircled by the audience, becomes a space of collective movement and exposure as voices press

2024 Before and Above Us stages a mundane invasion across open skies.  The sound of aircraft cuts through the wind, helicopters clatter, folk music distorts the voices of soldiers, a swarm of butterflies hovers between the moments of dread and wonder. There is no single event, but rather a collective condition, without before and after, a present interference across open skies. Working with historical sound sequences taken from different police

2023 . A minimalist reduction of the road movie set against the desolate stretches of the Arctic Circle, The Shortest Road follows a cabbage as an unlikely protagonist of endurance. The highway becomes a route following themes of displacement, ecological horror, and cultural survival, with a deadpan wit that quietly suspends resolution. Co-produced with Northern Sustainable Futures and Moskosel Creative Lab. . HD, CGI, color, sound, loop . LINKS Moskosel Creative Lab

2022 A Yugoslav architect, Vjenceslav Richter, once imagined a floating pavilion like a sailing ship with a mast, suspended by steel cables. For this project, he planned to recover parts of a bridge destroyed during the Second World War and build the pavilion using the ruins. The Sun, the Mast or Gravity takes these rusted elements to form a branching structure that connects unrealized visions with fallen landmarks—from the mast

2019-2022 . Sites of Encounter is composed of three short films that explore the intersection of spatial memory and architecture within virtual environments.  The story drifts in and out of a conversation, half-thought, half-confession, between a group of characters trying to make sense of contemporary labor conditions, unlocking fragments of collective memory in the silence of virtual space. Exiting the architectures of traditional labor—factories, offices, construction sites—they enter a new terrain

2019 . People engage in social confessions for many reasons: to reveal a truth, express love, seek forgiveness, or relieve guilt. In the age of social media, a ritual of confession has resurfaced upheld by tightly filtered networks and the lure of simplified narratives where solidarity dissolves into a collective uncertainty. Confessional stage diving takes the spectacle of cancel culture and hurls it into the chaos of the crowd, where

2018 HD, CGI, color, sound, 14’54”, 2018 multi-channel video installation, 14:54 min; costume on metal frame, duct tape, textile, variable dimensions What happens when bodies become archives, an updated processing of self that is never complete, always streaming, sharing, and saving? A sense of community can emerge through shared habits. What is considered suitable is learned from others, gradually forming a unified collective body. Project Walkthrough centers on a game

2015 . Good Morning was originally established as a web page focused on the afterlife of images and various social rituals surrounding death. In this project, the internet functions as a cenotaph*—a memorial without a body. To evoke the sterile, contemplative atmosphere of a traditional exhibition space, a series of fictional monuments were digitally constructed using a collage of online sources, including found images, memes, and fragments of internet culture. *In

The Long Running Sequence, 2026. Digital Print Backlit film Lightbox, 150x109cm, 110x80cm, 60x40cm. Photo Simon Veres Where Boundaries Blur, Group Exhibition at MQ Wien with Marei Loellman and Mira Gaberova, Curated by Elizabeth Hajek and Viktor Cech. Photo Simon Veres MuseumsQuartier, Artist-in-Residence, Tranzit/ Erste Stiftung, Vienna, AU, 2026 Droneworks for The Island by Hito Steyerl. Osservatorio Fondazione Prada, Milan, IT, 2025 Photo: Andrea Rossetti, Courtesy Fondazione Prada Before and Above us, Choreography for the