Site-specific audio installation presented as part of the "Work" exhibition at the Other Music Academy in Weimar, Germany. This piece used the dunce cap as a starting point for experimenting with the traditional audio guide format - and with notions of trust and authority in voice-over narration. The track was intentionally broadcast in its largely unedited form, hinting at the tensions inherent in contemporary self-directed artistic practice. HEAR THE AUDIO.
Installation & live performance, in collaboration w/ Ana Patiño & Camila Riveros. Part of the DEBATTERIE! Antagonismen Aufführen program in Bremen. Re-mounted at AKTION Hamburg. Patiño & Riveros' installation explored the dynamics of privacy, surveillance & performance. While recorded voices described true examples of violated privacy, a live audio broadcast (sung and spoken by Seringhaus) forced the audience to question dynamics of public vs. private & fact vs. fiction.
Site-specific audio Installation, E-Werk Weimar water tower, commissioned as part of Kunstfest Weimar. What if a building could speak? This site-specific, monologue-format audio installation was presented at the abandoned E-Werk cooling tower in Weimar, Germany. Combining German and English text, the work considered the spaces and places that exist between use & disuse, between theatre & installation, architecture & character, madness & sanity, relevant past & useful present. HEAR THE AUDIO.
First exhibited as part of Salon Pink at Weimar's Gaswerk. This is the first piece in an ongoing series which uses the classic guided relaxation format to explore the absurdities inherent in consumer culture, and the myth of total self-actualisation through positive thinking. HEAR THE AUDIO.
Part of La Llamada (The Call), a collective exhibition of short-duration audio artworks. Bahía en Sonora Sound Art Festival & Museo Ferrowhite, Bahía Blanca, Argentina.
In Memoria de Larga Distancia, a "stolen" childhood memory (provided by a Colombian artist) was recounted by Seringhaus in Spanish, and in the first person. The artist's accented voice quickly made it clear to listeners that the story was second-hand, yet their experience of it remained intimate.
Public performance w/ "speaking suitcase", Weimar Altstadt & Hauptbahnhof. The performance took the form of a dialogue between the artist and her trapped voice — which called out from its place, stuck in her suitcase. It combined English and German text, and dealt with the frustration of dislocation and foreign-ness in the context of Weimar's rich history. HEAR THE AUDIO.
This five-minute video monologue dealt with issues of constructed vs. innate identity, using the "inner scream" as a format. Screened at the Bauhaus-Universität. WATCH NOW.
Performance, part of the "In Times of Conflict" series at the Immigration Office art space in Bremen, Germany. In this series, performances were viewed from outside the gallery. Hourglass Dinnertime played with the idea of self-induced chronophobia. The action played out over 15 minutes and was accompanied by a soundtrack broadcast outside the gallery space.
Performance/guided tour as part of B-Tours Berlin. Artists Danielle Kourtesis (USA/Germany), Nima Keshtar (Iran), Iva Kirova (Bulgaria) and Ina Weise (Germany) created Tourgasm: Marzahn, a "once-in-a-lifetime transcendental journey into transcendence." This ironic, atmospheric, champagne-soaked tour ended in the Freizeitforum Marzahn, where Claire Flaubert performed a final cabaret-style song in the grand ballroom.
Performative walk, Sarajevo, Bosnia. After the riots of early 2014, which began fiercely but dissipated after a few short days, a debate remained to be had in Sarajevo. This performative walk was a response to this state of suspension. It began at the viewing point near the Yellow Fortress, and proceeded through town to the Sarajevo Kanton. Signal of the City was captured by Pezhman Zahed, and was developed as part of the Bauhaus 2014/1914 project of the Bauhaus-Universität Public Art & New Artistic Strategies MFA.
Performance & video, Kino Bosna, Sarajevo. Devastating floods hit Bosnia in 2014. While the destruction was occurring just miles down the road, I was undertaking a residency in Sarajevo as part of the Bauhaus Universität MFA Public Art & New Artistic Strategies. This short performance, shot at Sarajevo's Kino Bosna, features the blues song "River, Stay Away from My Door," sung to an audience of one. The work considers the futility & falsehood of the expressive voice when used in complex foreign spaces.
Public installation in the Weimar Stadtarchiv, presented as part of the 20th anniversary of the Bauhaus University's Art & Design Faculty. The work considered hair as a substance of memory, and one which is wildly transformed by context. At the same time, the work consciously highlights the artist's role as a tourist, voyeur and cultural collector in Weimar's richly-preserved Altstadt area.
Video loop commissioned for the exhibition "What's Up, Novalis?" at the Jena Stadtspeicher, Jena, Germany. This video piece was a reflection on the dream-like state induced by the modern social environment, wherein personal and professional spheres blend together and the neverending incoming stream of information becomes a blur.