The beginning of my video performances, 2005, can be understood retrospectively as a reaction to the expanding virtualisation of social reality. Subsequently under „masking“ in the broadest sense, I developed various types of medium/form relations by aesthetical strategies.

This also applies to those works in which, in addition to various art-immanent topoi, painting is negotiated as a dispositive in the dispositive of art. In a world increasingly opened up by cognitive science, articulations of art can only be realized with a high degree of probability of surprise and uncertainty. One of its functions is „the provision of a potential for self-observation that can be masked and applied at any time by setting objectives” (Dirk Baecker 2007).

In the age of „surveillance capitalism” (Shoshana Zuboff 2018), where in new markets people are suppliers of behavioral data or the source of a free resource, „everyone, whether intentional or not, is a performance artist and network publicist – even if only by transferring his rent” (Florian Cramer 2015).