The writer in residence of Photoworks UK, Marissa Chen, has written about my work Forensic Excavations Inventory or The Total Deconstrucion of an Eurasian Family, along with the work by Wojciech Feć.
Read the piece.

Wendy M.K. Shaw has mentioned my work that I was commissioned by the nGbK Berlin to create for Kunst im Untergrund (Art in the Underground) in September 2019 on Up in Arms.

Please see updated "on view" list for current and future opportunities to view my work. New dates will be added and confirmed in the coming weeks.

You can find my updated artist's statement on my About page now.

I have divided my long term project Forensic Excavations Inventory or the Total Deconstruction of an Armenian Family into three different projects to signal that they are actually four different works with the same root:

The latest iteration that is still being continued is called Forensic Excavations Inventory 2020. The two exhibits I produced in 2019 for Kunst im Untergrund (Art in the Underground), Up in Arms, nGbK Berlin and Kunstraum Kreuzberg/Bethanien are called Forensic Excavations Inventory 2019 part 1 and part 2.
Finally, the very first versions I made for the Studienpreis 2017 and later in the same year for the exhibition Cultural Memory in the Present, both in the gallery of the Hochschule fuer Grafik und Buchkunst Leipzig (Academy of Fine Arts Leipzig) are archived as Forensic Excavations Inventory 2019 part 1 and part 2.

In the past months, I also created a new description each for the projects Sachstandsdokumentation (Nr. 0617 - 0918) and TRADITION.

I have also updated my contacts list with friends, partners and collaborators.
More recent updates below.

I have written up a brief decription of my artistic research about linking the Rosenheim Poltergeist haunting and the Kunduz affair 2009.

I have also updated the description for Forensic Excavations Inventory 2020.

I am writing an essay about the tension of control and surveillance in both familial and governmental contexts, drawing from personal experiences in socialist Bulgaria and re-unified Germany.
To be published in Adjacent Journal of emerging media issue No. 8, published by New York University. Publishing date: Summer/Fall 2020.

This year I am again part of Manu Washaus' team in Thallwitz for an as of yet unnamed project in the municipality of Leipzig. Las year we were both working for MdbK[mobil], this year Manu is concptualizing his own project with collaborator Felix Worpenberg and a team of artists as well as the support of the municipality Thallwitz within the framework of the newly founded Fine Arts Institute Leipzig.
I will be responsible for developing the monthly print newsletter 'zwischen den zeilen' in the local gazette Amtsblat Gemeindeblick Thallwitz.

In September 2020 I will take part in a residency and exhibition curated by the collective Zona D for the project Gegenwarten / Presences in Chemnitz. For this I will work on and present my research about the Ore Mountains in a poster interventionin public space. TRADITION

Old artist's statement
In my works I often organize objects, the figurative, psychological objects and self-made objects.

Objects, e.g. architecture, often stand in for another thing, person, or emotion and merge meanings from different fields, disciplines or schools of thought. Melanie Klein's psychoanalytical concept of internalized objects has been influential in my understanding of what objects are.
This project is a good example of the current stage at which the artistic resarch methodology that I am developing is.

I spend years working simultaneously on a number of individual complex ideas and creat different iterations of one work. The work crystallizes at different stages and then evolves further if there is a new impulse and more importantly, time.

My work is informed by the works of writers, filmmakers and artists. In no particular order these include Edmund White, Dennis Cooper, Melanie Klein, Kathy Acker, Naomi Kawase, Banana Yoshimoto, Larry David, Beatriz Colomina, Sigmund Freud, Chris Kraus, Naoko Takeuchi, Carl Barks, Bret Easton Ellis, Eric Rohmer, Atom Egoyan, Kiyoshi Kurosawa, Andzrei Zulawski, Hiroshi Sugimoto, Loriot, Helmut Dietl, Georges Bataille, Heather Havrilesky, Edith Nesbit, Monika Treut, Dan Graham etc.
Among my favorite TV productions are Disney animated shorts from the 40s-60s, Buffy The Vampire Slayer, Seinfeld, Clarissa explains it All, Curb your enthusiasm, Arrested Development, Louie, Apartment 23.
Next to film, my greatest influences are architecture and nature. My favorite architects are Tadao Ando and Mies van der Rohe and I most enjoy art works that deal with architecture and space.

I have added the concept for International Bun, an artistic resarch restaurant.
The concept was published in the catalogue of the group exhibition Not here, Not Now, with the class of expanded cinema initiated by Anna Jehle and Clemens v. Wedemeyer.

I updated Forensic Inventory Excavations to include current installation views from the Up in Arms exhibition and the Art in the underground exhibition.
Both exhibitions are on view until December 15 and November 4, respectively.

I was invited to join a discussion panel about urban public space as a futurism-laboratory.
Where: Galerie Zwitschermaschine, Potsdamer Strasse 161, Berlin, DE
When: 19.10.2019 (around 6pm)

More information: Galerie Zwitschermaschine.

Text by Carsten Lisecki:

'Zukunftsforschung Stadt: TT-Kelle, Fluxus, Pi-Bag (Truckerduck) und Klappstuhl als Insignien einer neuen Buergerwuerde?'

Flipchart-Happening von und mit Carsten Lisecki zum Finale der Arena Lautsprecherskulptur mit Bazon Brock, Ina Weber, Nahed Mansour, Sedlmeir, Beatrice Schuett Moumdjian, Frank Schoppmeier, Fred Aaron Blake und Peter Ulrich.

Unter dem Programmpunkt 'Zukunftsforschung Stadt' werden Denker, Wissenschaftler und Aktivisten Denken und Argumentieren als Breitensport propagieren und mit Kurz-Statements u.a. Kunst im Oeffentlichen Raum neu denken.
'Der Oeffentliche Raum hat das groesste Potenzial, um Kultur, Lernen, Sport und Nachbarschaft zu verbinden. Die Kosten sind im Vergleich zu dem gesamtgesellschaftlichen Nutzen und Signalwirkung eher gering, trotzdem wird dieses Potenzial kaum ausgeschoepft. Erst im Versuch wird deutlich, welche Vor- und Nachteile bestimmte Eingriffe in den oeffentlichen Raum nach sich ziehen. Als Beispiel moechte ich hier die Massen von Leihfahrraedern nennen, die zu Anfang eine positive Deutung erfuhren, momentan aber durch ihre Vielzahl auch diskussionswuerdige Bilder verbreiten.'
Weitere Themen werden sein: Stadtskulptur mit Mehrwert, Bildschirmfreies Flirten im oeffentlichen Raum; Nahkampf im Schienenersatzverkehr; Der Spaeti: Halboeffentlicher Raum als Wiedergeburt der Kiezkneipe und des Tante Emma Ladens; Notdurft im Oeffentlichen Raum - Duchamp fuer Alle; generationsuebergreifende mobilisierende Spielplaetze.

Eine Gesellschaft haelt sich fit und lernt sich kennen.

A new installation of mine is partaking in the exhibition Up in Arms that opened 27th September in Berlin at Kunstraum Bethanien. I'll update the website with photos soon.

Since March I have been working for a project called MdbK[mobil]. initiated and led by Manu Washaus and Carolin Rothmund. It opens today until September 29th, in the Gemeinde Thallwitz, 20km outside Leipzig. It's basically a museum branch in the country!

I also have opened today my exhibition at the U-Bahnhof Stadtmitte U6, facilitated by the nGbK Berlin for the project Art in the Underground / Up in Arms.

In the beginning of July my proposal for an installation at the upcoming Up in Arms exhibition at Kunstraum Kreuzberg/Bethanien was approved. Because in this space I want to promote transparency in an increasingly exclusive art world I will add that this project is funded by the nGbK so the artist's fee and production costs are covered.

In other news the project MdbK[mobil] by the Museum of Fine Arts Leipzig has gone public and can be found in the announcements of the museum's website:
I am making 7 illustrations from April - October 2019 for the local paper 'Gemeindeblick' of the municipality Thallwitz in the name of MdbK[mobil].

A proposal that I have made in the open call ("Neue Heimat on the road") for the 2025 European Cultural Capital bid by the city of Dresden, Saxony about the Ore Mountain was sadly rejected (excerpts can be found here.) I was very dissappointed because the research that went into my proposal amounts to 5 years of intellectual and physical work.

I have decided to not only use this space for publishing positive news (see below) but also other information like rejections and other relevant developments in my artistic trajectory.

Neue Gesellschaft fuer bildende Kunst (nGbK) announced the winning entrys of the competition Up in Arms/Art in the Underground (Up in Arms/Kunst im Untergrund).
Forensic Inventory Excavations will be exhibited as a site-specific public art installation of 6 billboards displayed at the metro station Berlin-Stadtmitte.
My participation is awarded with 4000EUR. Production expenses in order to realize the concept will also be covered.

In addition, I am devising a new installation for the Up in Arms exhibition to propose to the curating team. The exhibition starts September 28, the public art billboards September 15 and run until December 15.
Update 09.07.2019 We have agreed on a new installation for the exhibition.

23.04.2019, updated 24.04.2019
I am currently in the process of writing the first draft of a comedy based on my biography utilising the storytelling technique developed during the Forensic Inventory Excavations project.

I put up a new description text for the Forensic Inventory Excavations project.

In short, it is a storytelling tool box.

Documentation Report is shown in the International Competition Super 8/16 on 23 March at Dresdner Schmalfilmtage.

In other news I have updated my artist's statement, which has been a constant work in progress since the inception of this page.
In the future, I would like it to resemble a mission statement, with my future goals and plans stated. As it is, it was hard enough to define my current process. After 5 years of art school I may have finally found a somewhat fitting approach.

Currently I am working on an essay film that merges elements of the long term research I've done both for TRADITION and Forensic Excavations Inventory. It is supposed to be finished for my graduation in July as well perhaps shown in a slot at Fotofestival Arles.

Also, for some time now my CV has been listing (some of) my failures next to my accomplishments and biographical facts. For the longest time I have been in conversation with Lars Preisser about the possibility of the artist's CV as a storytelling tool.

The idea of the CV as a site of storytelling is the nuclear idea and has the potential to expand into a multimedia work. So far we have made several project sketches.
As a start, we collected and analyzed hundreds of artist's CVs from our immediate surroundings, colleagues, friends and professors. By tracing the schools and supporting institutions we wanted to understand the connecting points that exist between the careers of these artists.
The motivation is to make transparent the social and economic dynamics that drive the art world opposed to the current narratives available.