What are you working on at the moment?
On our book from the series ›Postdramatisches Theater‹.
Which part of your work do you like the most, which the least?
Our favourite part: designing construction systems, taking photographs, transferring money. Our least favourite: collecting press material.
Who or what has influenced you in your work? And how?
The architect Georg Heinrichs and his penchant for the horizontal.
Which artwork do you return to again and again? And what fascinates you about it?
Reliefs by Emmanuel Botalatala, le Ministre des Poubelles, that are like wall newspapers. Modular concrete walls by Karl-Heinz Adler and Friedrich Kracht because of their elementary character.
What would you do if you weren’t an artist?
Architecture, design, graphic design.
What does your workplace look like?
It now has a hidden library.
Where do you like spending time most of all?
On labile planes, because the handrail is missing.
What space would you like to enter at some point?
Otl Aicher’s studio houses in Rotis. In one studio, the wall can be cranked up. And new solutions for theatre in the face of the coronavirus.
What do you like doing most when you’re alone?
Listening to Krixi, Kraxi und die Kroxn.
What thing enriches your everyday life?
A lightweight bike lock.
What are you reading at the moment?
›The Locked Room. Four Years that Shook Art Education, 1969—1973‹, edited by Rozemin Keshvani—because of a preference for sticking to the rules.
What was your last trip before the lockdown? Your first after the lockdown?
Before: With the train to Tanztheater Wuppertal Pina Bausch. After: With my bike via Dresden to the Black Forest.