Space Object Image Performance 2007-2010
David Knowles 2007-2010 Space 4 10 22 34
Drawdown Date (Neutral Political Space) Frozen Music/Melting Cities Zwischen den Jahren Open Office
Object/Image 46 80*81 70 Books 82 Photography Performance 94 Psyte 106 Donkey Kong 110 Next Level/Level One 116 Botanizing the Asphalt Tangent 32 Interview with Lucky Dragons 80 Interview with Mt. Eerie 104 Interview with Todd Patrick
Drawdown Date (Neutral Political Space) 5
Drawdown Date is a performance and installation executed for the project Des Chapitres du Conflit at the former Iraqi Embassy to the German Democratic Republic in Berlin, Germany. The embassy was vacated by its staff after the reunification of East and West Germany in 1991 and remains vacant to this day. Caught in a legal limboâ€”both Germany and Iraq disclaim responsibility for the propertyâ€”the embassy has become a popular site for tourists and those seeking notable memorabilia or free furniture. Over the course of one week, in a gesture both political and pathetic, I stripped, cleared, swept, mopped, and sanitized a single room of the embassy.
Frozen Music/Melting Cities 11
Frozen Music/Melting Cities was an exhibition of my own sculpture, photography, sound installation, and muscial scores. The design of the exhibition, and a great deal of the material on display, was conceived and executed during a period of residency at Temporärity, a project space in Berlin, Neukölln. The architecture for Frozen Music/ Melting Cities was constructed out of a modular system of styrofoam sheets which were assembled in various configurations to make the tables, pedestals, and screens on which work was mounted, and the furniture on which visitors could sit while interacting with the more tactile works on display. The idealized ‘white cube’ architectural container was here deployed as a configuration of objects which enter into dialogue with the raw exhibition space and the individual works
zwischen Den Jahren 23
Zwischen den Jahren is a sound installation that emerged from an interest in the logistics and geography of subversive cultural activities in the German Democratic Republic. After a period of research and fieldwork, I located the lead singer of the first East German punk band: Holger Dรถbler of Die Madmans, a group active in Weimar between the years 1979 and 1981. Mr. Dรถbler led me to a small chapel in Weimar where, with the help of a pastor who provided the band a safe haven, Madmans played some of their earliest shows. Using samples from the debut record of Madmans, I composed an original soundtrack for the space. This composition was then pressed into two soft dub-plates made of acetate, set to replay continuously, and positioned at either end of the chapel to form a four channel sound installation. As the records play and replay the sound quality of the recording quickly decays into static. Though all media undergo a slow decay, the decay of the dub plate is a function that is built into the medium itself. Dubs are created with the expectation that their message will only be heard by a select few. In order to protect the message, the medium is destroyed. Punk in the GDR shared this operational logic. Its messages were passed in secret. Bands were constantly disentegrating and reforming. Only a few were privy to performances, records and activities. Its survival depended on constant reconfiguration and dissapearance. space 24
Zwischen Den Jahren (Plates) 2010 12â€? Acetate dub-plates in artistsâ€™ boxes, Digital inkjet prints 36 cm x 36 cm space 31
Excerpt: Interview with Lucky Dragons Originally published at openofficepok.com (February 6, 2009). Republished in Erotic Economies, Volume 1 (SUNY Buffalo, 2010.) Sarah Rara and Luke Fishbeck have been traveling the world for years now making drawings, music, performances, and other less immediately classifiable products under the name Lucky Dragons. Their live performaces invite a great degree of audience involvement. Most instruments are played by audience members and participation is further facilitated by a homemade synthesizer, played by many people at once, which generates sound when one person touches the skin of another. Their performances are a series of beautiful confrontations with the sometimes awkward anduncomfortable role that technology, as that which facilitates but also inhibits togetherness, plays in the formation of community. DK: This question I’ve been working on is about the relationship between a band and the space that they play. Not just how the places groups play defines their image but also the way in which a band playing in a particular place can use the architecutre of that space or can reconfigure its intentions. You’re a band that plays in big museums like the Whitney Museum, but you also play in houses or in little rooms – LF: - and on top of mountains – SR: - on a mountain, on an island, we had a kayak too. We play everywhere. DK: So you play shows all over the place. SR: The context changes the interpretation of the show. LF: Are you thinking about buildings in a physical sense, or buildings in a cultural sense? SR: Like the function? DK: The culture and function of a space. I’m talking about the way that bands use buildings. The experience of seeing you play in a museum is different from the experience of seeing you play in a house. LF: For one thing this is really testing our intentions of stepping outside the performance and seeing it from a different perspective. We can’t really answer this question because we’re so inside of the performance. tangent #1 32
DK: I don’t know that there’s an answer to it. SR: It’s very deep. It runs through everything. But I’m always trying to give everyone the same experience. When I’ve had the best shows ever I’ve felt a total connection with other human beings and seen them walking out of the club having a discussions with each other or with a stranger. I want to give that to everyone. So when we’re in a museum I want to give that to them and when I’m in a house show I want to give the audience the same thing. And I also want to test the limits of playing the same show in different places and whether people can handle it in different places in different buildings with different functions. And maybe that’s why our shows are almost like a discussion group. Because we’re bringing them to buildings where discussion doesn’t happen very often. So maybe the buildings with functions I really admire are like libraries or schools and there’s something about what we do in a rock club that is like that kind of building. Or even a cafeteria or something. LF: There’s also the question of the difference between doing something temporarily to change a place and doing something that will change it after we’ve left. I don’t know. I like to think that we’re working towards some change that stays on. DK: Like it will always be the place where there was a Lucky Dragons show? LF: No but it will be a place where the next time a band plays there people will have a different attitude about it or maybe people think of other ways to use the space. I really like being part of a space where you have an ongoing contribution to the culture of that space and the way that it’s used. A place like the smell in Los Angeles is a place that we’ve played over and over again and seen the same people and helped contribute to the development of the culture of the space and when we go play a show there it has a definite feeling to it that’s very unique. It feels sort of like a book club. People are seated very calmly. It’s very strange because other bands, when they play there, it’s not like that but that’s something you can see continue to change.
tangent #1 33
OPEN OFFICE 35
OPEN OFFICE is a vacant office in Poughkeepsie, New York owned by Sandra and Leonard Gerber. The project began as a series of speculative activities aimed at finding a piece of real estate which could be occupied for a temporary period. I answered a classified posted by the Gerbers, who had been seeking buyers for the building for a year without success. In an act of great generosity Mrs. Gerber donated use of the space for ten days in May 2008. Poughkeepsie, New York is home to many vacant and unused spaces. These buildings are understood as the product of a community that has refused responsibility for its own environmentâ€”a community that has been unable to fully constitute itself as a cohesive body. The reactivation of one of these spaces by a variety of performers from Poughkeepsie and elsewhere was intended as a survey of different interfaces between artistic activity and urban development, contrasting a variety of foreign and localized approaches to cultural growth From May 5 2008 - May 11 2008 I converted the building into a multipurpose public resource center containing three small screen theaters, a reading room, a kitchen and a performance space. Over the course of the week I curated a series of film screenings, workshops, performances and dinners, all free and open to the public. Audiences were encouraged to come and go as they pleased.
OPEN OFFICE (Film) 2008 Digital Video 9’55” space 39
Participants: Andrew Atkin, Tree Arrington, Dinowalrus, Enter the Scorpion Pit, and the Calculator Death Machine, Chris Maher, Peter McCulloch, Josh Miller, Kyle Childrenâ€™s Media Project, The Poughkeepsie Family Partnership, Ashkan Sepahvand,
DeeDee Halleck, Jake St. John, Noah Kardos-Feinn, Lindsay Kozlowski, Lady Lovelace Murray, Polina Novhenets, Persephone and Her Cellar Babies, The Poughkeepsie Harry Smolker, Juliana Valente, Andrew Wood
Films: Ant Farm Media Burn, Dara Birnbaum Technology/Transformation: Wonder Richard Donner Superman, Charles and Ray Eames House After Five Years of Living, Clark Open House Peoples Communication Network Queen Mother Moore Speech
Woman, David Cronenberg Videodrome, Deep Dish TV World Tribunal on Iraq, Dan Graham Performer/Audience/Mirror, Walter Hill The Warriors Gordon Mattaat Greenhaven Prison, Barbara Zahm The Last Graduation
OPEN OFFICE (Book) 2008 100 Pages, Spiral bound 19 cm x 19 cm space 45
80*81 is a research, theater, and publishing endeavor spearheaded by the artist Christopher Roth and the journalist Georg Diez with the support of the Kulturstiftung des Bundes. While the years 1968 and 1989 are consistently cited as two of the most historically significant years of the twentieth century, Roth and Diez have been traveling the world conducting interviews and gathering evidence to support the theory that it was, in fact, the years 1980 and 1981 that changed the course of modern history. Using a vast archive of images, texts and films, Diez and Roth produce a series of theater shows in locales as distant as New York, Johannesburg and Berlin. Their actions and evidence are presented in a series of eleven books published by Edition Patrick Frey in Zurich. As a project collaborator, I focused specifically on book production, contributing design and editing expertise as well as original writing to six of the eight volumes produced thus far. I also provided production assistance for theater events held in Berlin.
Credits Assistant Editor Volume Three: Mao III Volume Seven: I Love My Time Volume Eight: Superburg Designer Volume Four: u2-4u+8=0 Volume Five: Travelogue Volume Six: Atrocity and Grace 80*81 Promotional Brochure 80*81 Theater Poster Production Assistance 80*81 Office at Galerie Esther Schipper, Berlin Psycho-Fashionshow 2081 at Hebel am Ufer Theater, Berlin Contributer Volume Eight: Superburg
80*81 Office Galerie Esther Schipper, Berlin 49
Each volume of the 80*81 book collection contains interviews with important figures in culture and politics about their activities in the years 1980 and 1981, facsimile texts, images, and timelines. Volume Four draws on the ideas of Richard Feynman, Wolfgang Pauli and Robert Fludd, and the work of Samuel Beckett and Charles and Ray Eames to develop a theoretical bacbone for the 80*81 series of theater shows. The book also contains an interview with 1980 Swiss/Russian chess champion Viktor Kortschnoi.
Volume Four: u2-4u+8=0 2010 Paperback in PVC Sleeve 20 x 20 cm, 128 Pages object/image 51
Volume Five of the 80*81 Book Collection follows Roth and Diez as they travel to North Dakota to interview Psychoanalyst Christopher Bollas about cyborgs, and to London where they talk to author Will Self about modern mass tansportation and the poetics of walking. Volume Six presents a script from the 80*81 show performed at New York’s Watermill Center, and an interviews with Nobel Prize winning scientist Françoise Barré-Sinoussi and filmaker Jean-Jacques Beineix.
Volume Five: Travelogue/ Volume Six: Atrocity & Grace 2010 Hardcover, Double-Sided 24 x 17 cm, 192 Pages object/image 59
01/2010 Polystyrene, PVC, Styrofoam, 80 gsm Munken, Construction Paper 15 cm Ă— 21 cm 50 Pages object/image 73
02/2010 Rubber, Aluminum C-Clamps, Stainless Steel, Felt, Construction Paper, 80 gsm Munken 30 cm Ă— 21 cm 240 Pages object/image 75
03/2010 Felt, Plastic Mesh, Carpet Holder, Aluminum Clips, Construction Paper, 80 gsm Munken 35 cm Ă— 21 cm 240 Pages object/image 77
04/2010 Rubber, Aluminum C-Clamps, Stainless Steel, 80 gsm Munken 15 cm Ă— 21 cm 100 Pages 79
Excerpt: Interview with Mt. Erie (Phil Elverum) Originally published at openofficepok.com (May 10, 2009) Phil Elverum was born in Anacortes, Washington and released his most well known record, the Glow Pt. 2, on K Records in 2001. Since 2003 Elverum has been recording and performing under the name Mt. Eerie, a reference to the geography of his hometown. His talent for poetic description of the grandeur and vastness of the natural world and the corresponding vastness of the human emotional world are matched only by his ability to create stunning sonic representations of these spaces. His sense of largeness is derived from the constant slippage and conflation of a psychically expansive world located inside a small physical body positioned in an unthinkably large physical universe. It is largeness derived from forced perspectives and changing scale. DK: I’m interested in what kind of approach you take to the spaces you work on. Do you try to distance yourself from a space in order to achieve a more objective or descriptive approach or do you want to lose the boundaries of your consciousness in a way that allows you to become part of a space? Do you position yourself in a space or do you allow yourself to become possessed by a space? PE: I think most of my work is sung from the perspective of an observer positioned in a space or outside of a space, not from a God perspective. And a lot of my writing outside this project is from a first person perspective. But not necessarily in direct relation to space, but more in the world and what it feels like to be in the world in between spaces or among large spaces. This record I just finished for example, thinking about it in these terms, I think that the way I write is very visual. I have a very sophisticated angle and quality of light and time of day, an almost cinematic angle that I’m writing from, which doesn’t necessarily make it into the song but in my mind it is there and its very clear. It’s there and occasionally parts of it end up in the final song. In this record I just finished there are parts where a song happens on a specific street in Anacortes at 5pm. I think that eventually I should start making movies. I think that’s what I really want to do. DK: The idea of home and this idea as a metaphor in your music is interesting to me. Because a house or a home is an architectural space that illustrates the immateriality of certain architectural concepts, because it can slide out of it’s material structure, be carried around with someone in their head, or then reinvested or reinserted into a different structure. tangent #2 80
PE: Not only that but often times a sense of home is not rooted in the actual structure but in the place and the neighborhood or if you live in a town where your family has gone back many generations than all of those places where your family has lived as well and where you’ve spent time. It’s a web of home. That’s the case in Anacortes for me because my family goes back there and I have a very deep sense of home. And I feel like that’s rare these days, especially on the west coast where everything is so new. So I hold on to that pretty tightly. I still live there. I just bought a house. I’m putting roots down. And it feels amazing. DK: How much of the largeness of your sound comes from the space you are recording in and how much is manipulation of sound that you’ve already recorded. PE: When I’m recording and putting the instruments down I’m mixing at the same time and establishing how loud things are in relation to each other. It’s like working on a collage or something. So making things sound huge is something that happens from the very beginning. The question is always: how do I make something that sounds way bigger than possible? DK: Is it possible for you to achieve this without effects or manipulation. You were talking about playing in a church earlier. Things naturally sound very huge there. PE: Oh right. I don’t really use any effects like delay. I use distortion. I don’t use reverb. I use large rooms. DK: So what we’re hearing on the record is an index of the space you are recording in. PE: I’ve done some sessions where I’ve just used one microphone and a bunch of people. And it’s like, ‘okay your guitar is too loud, you need to step back ten feet,’ ‘you’re singing the third note too high, you need to tilt your head up when you sing that note.’ And it’s very mechanical. It’s the same as like adjusting the levels on a mixer but you’re moving people around. DK: Like you’re tuning a giant instrument. PE: Yeah. And it is mixing in the air on its way to the microphone. I’m lucky enough to have a group of people around me willing to do it. I love being able to make my eyes roll back in my head when I’m working on something like that cause they’re just not being used. I’m just focusing so much on my ears.
tangent #2 81
Gropiusstadt Burnout #1 (Vertigo) 2010 Digital Inkjet Print on Semi-Matte Paper 70 cm Ă— 110 cm object/image 85
Gropiusstadt Burnout #2 (Saturation) Digital Inkjet Print on Semi-Matte Paper 110 cm Ă— 60 cm 2010 object/image 86
Gropiusstadt Burnout #3 (X Lichtenberg) Digital Inkjet Print on Semi-Matte Paper 110 cm Ă— 70 cm 2010 object/image 89
Gropiusstadt Burnout #4 (Circle System) Digital Inkjet Print on Semi-Matte Paper 110 cm Ă— 110 cm 2010 object/image 90
Gropiusstadt Burnout #5 (Canyons) 2010 Digital Inkjet Print on Semi-Matte Paper 110 cm Ă— 110 cm object/image 93
The Psyte performances are about the failure of abstract, rationally conceived systems to generate expected results. This score is an attempt on a musical level to ground these systems, making their objects and limits sensible to active users and participants. The score takes as its starting point a series of systems commonly used for identifying place: Longitude, latitude, dimensions of an architectural structure, time of sunrise and sunset, average temperature etc. Though their goal is to specifically locate a place based on its particular qualities and attributes these systems also have the effect of departicularizing and rendering abstract the places that they identify. These systems are inverted and combined with one another to generate a series of equations which determine the timing and character of the musical events which will occur when the piece is performed. Though the exact length of the piece is determined by the institution or space hosting the performance, it is intended to last anywhere from one week to several months. The equations are completed and the score finished when the particular attributes of the performance space are inserted into the system and a new logistics of space is generated. The implementation of these logistics refers to the type of the office or factory, where the presence and movement of workers and producers is carefully orchestrated.
Psyte #3 May 8, 2010 Musical performance Biedenkopf, Germany 30â€™ 97
Psyte #1 January 29, 2010 Eight channel sound installation Weimar, Germany 24hrs. video/music/performance 99
Psyte #2 February 10, 2010 Eight channel sound installation Sarajevo, Bosnia & Herzegovina 60â€™ 101
Psyte #4 (Score) September 24, 2010 Musical performance 60â€™ 103
Excerpt: Interview with Todd Patrick Originally published at openofficepok.com (October 9, 2009) Todd Patrick is the major force behind the explosion of independently booked and promoted rock shows in Brooklyn, New York since the dawn of the millennium. His furtive and egalitarian approach to the business of event promotion has made him a minor symbol of a Brooklyn music culture that is beginning to attract attention nationwide. The growth of this culture has coincided with the growth of a culture of urban redevelopment in Brooklyn that has seen high-rises sprout along the Williamsburg waterfront and condos encroach on Mccarren Park in Greenpoint. I met with Patrick to discuss the parallels and divergences of these cultural trends, the urban and spatial dynamics of a burgeoning rock scene, and places of musical performance. DK: What I’m hearing you say is that this condition of having to constantly relocate is a result of a situation that is thrust upon you, that you are forced in to. But surely you realize there is a pleasure in this as well. You benefit from this. TP: How so? DK: Because it sells. Because people are really attracted to it. There’s a real pleasure in this “destination-show.” TP: New Yorker’s are real estate voyeurs. We want to see property. For some reason New Yorkers want to see how everybody lives. They want top see what’s inside that building. Also most New Yorker’s, most white New Yorker’s, most white middle class people are actually terrified of New York.Terrified of anything they don’t already know about. So this gives them an excuse to feel like – oh I can go into this place where a lot of my peers will be. And they’re not just terrified on a crime level, they’re terrified on the level of not being cool enough to go there. DK: So they’re curious and they’re real estate voyeurs but they want it to be safe. TP: They’re curious on an adventure level. DK: I want to talk about the neighborhoods that you throw these shows in. Do you agree that there’s a destination mentality that revolves around shows that you book? TP: Sometimes. These days I book most of my shows at Monster tangent #3 104
Island Basement which is right in the middle of Williamsburg. DK: That’s true. You aren’t as active. Or there aren’t as many events you do in crazy weird locations as there were a couple of years ago. TP: Probably because the crazy weird locations simply aren’t crazy and weird anymore. But that was because there weren’t any other options. It had to be where it was. It was always about what you could get away with legally. I do throw weird events. From time to time there will be something in a warehouse. That’s because the event will be so big that I have to find a new place. I’ve never fetishized. I mean I love the spaces and I sometimes love the experience but the thing is that new spaces bring new complications. New spaces bring a new set of assholes you have to negotiate with. Be it the people who run the place, be it the people who are neighbors, be it the cops who respond. None of this is fun. DK: So finding new spaces is not a major aim. TP: No I’m not trying to be a real estate agent. I’m not trying to expose beautiful properties. What I want to do is find functional places that work. DK: In this vein, do you ever think about the relationship between your activities, between the work that you do, and processes of gentrification in these neighborhoods? TP: I don’t think it matters. Because, bottom line, our culture is important. Me, as a white guy or a middle class guy or whatever, I need to be exposing and having a chance to express my culture just as much as the next guy and if the cultural and legal obstacles force me into using a certain area than so be it. There is nothing evil about visiting neighborhoods and I will not accept that criticism. For one thing the people who most want to complain about gentrification are exactly the people who are most likely to move into the neighborhood. Be it the punkiest of the punks or the leftiest of the lefties. They’re the ones who are moving into Crowne Heights. I will never feel guilty about finding a place for my culture.
tangent #3 105
DONKEY KONG 106
Donkey Kong 2010 Neues Museum, Weimar Variable length video/music/performance107
Donkey Kong is a band show which incorporates music, movement, projected light, and other effects to create instances of sensorial saturation. The saturation of a sense faculty is the intensification of that faculty to the point of uselessness. At a point of musical saturation we strain to hear differences in systems of sounds. At the saturation point of vision we become blinded by brightness, unable to distinguish objects from one another. Saturation is the state at which everything is shown and everything is heard. The saturation of touch turns the body into an emptied object.
Selected shows 2010 Neues Museum. Weimar, Germany. 2009 Videokills Festival. Berlin, Germany. AB Projekt Gallerie. Berlin, Germany. Bard College. Annandale on Hudson, NY, USA Vassar College. Poughkeepsie, NY, USA 2008 Yale University. New Haven, CT, USA Wellesley College. Wellesley, MA, USA
Donkey Kong 2009 Videokills International Video Festival Variable Length
Next level / level one 111
Score A band is split in half. One half goes to the first floor. One half goes to the second floor. The band on the first floor sees and hears the band on the second floor. The band on the second floor sees and hears the band on the first floor. Each band tries to imitate the other as closely as possible.
Next Level/Level One 2007 Digital video, Variable musicians, Video cameras, House 19â€™13â€? performance 113
Two competing bands on two floors of a house, conencted by video and sound moniters, imitate each other in a feedback loop. The conducter becomes an interruptive force. The architecture of the venue acts as a spatialized score, the structuring force, an index or point of reference for the performers.
Botanizing the Asphalt 116
Botanizing the Asphalt 2007 Digital Video, Grass, Pavement 15â€™17â€? performance 117
Sod laid out on the corner of 10th & Broadway in New York, New York USA on April 17 2007. The imposition of natural materials in an unsuitable urban context refers to the utopian ideal of the modernist garden city. The intervention occurs on a microscale without aspirations to step by step social transformation.
DAVID KNOWLES firstname.lastname@example.org www.openofficepok.com +184.108.40.2067.717 (Germany) +1.971.219.4373 (USA) 3655 NE Merges Portland, OR 97212, USA
EDUCATION Bauhaus Universität Weimar, Germany MFA Candidate, Public Art and New Artistic Strategies Fall 2009 Vassar College Poughkeepsie, New York, USA BA, Media Studies, Departmental Honors 2004 - 2008 Denmark’s International Study Copenhagen, Denmark Courses: Architecture Studio, Urban Design, Digital Design Fall 2006
WORK EXPERIENCE Assistant Editor/Designer, 80*81 Berlin, Germany Editing, design, and production assistance for a series of eleven artists’ books funded by the German Federal Cultural Foundation and published by Edition Patrick Frey. February 2010 - October 2010 Instructor: Architectural Design, Exploration Summer Programs New Haven Connecticut. Curriculum development and teaching of two design courses for students aged 15-18. June 2009 - August 2009 Curatorial Assistant, Frances Lehman Loeb Art Center Poughkeepsie, New York. Exhibition research, artwork registration, writing and editing catalog and wall texts. June 2007 - May 2008 120
Intern, Zimmer Gunsul Frasca Architects LLP Portland, Oregon Information and presentation design, editing, and field work for redevelopment of the Portland transit mall June 2006 - August 2006 Intern, Harvestworks Inc. New York City, New York Assisance with day to day operations and special projects at digital media arts center. February 2006 - May 2006
SCHOLARSHIPS AND AWARDS Ford Scholarship Frances Lehman Loeb Art Center, Pougheepsie, New York Research, writing, and curatorial assistance for the exhibition “Faith and Fantasy in Outsider Art from the Permanent Collection” June 2007 - August 2007
Vassar College Maguire Fellowship Support for a semester of study at the Bauhaus Universität and production of the exhibition “Frozen Music/Melting Cities.” October 2009 - October 2010
EXHIBITIONS AND PROJECTS Des Chapitres du Conflit Iraqi Embassy to the GDR Berlin, Germany October 2010 Frozen Music/Melting Cities Temporärity Berlin, Germany September 2010 Citymap Neues Museum Weimar, Germany July 2010 Sarajevo Winter: World Art Tendencies Sarajevo, Bosnia and Herzegovinia Charlama Depot/National Gallery Sarajevo. February 2010 121
PUBLISHED WRITING “America is Waiting...” in 80*81 Vol. 8: Superburg, Georg Diez and Christopher Roth ed. (Zurich: Edition Patrick Frey, 2010), 112. “Interview: Lucky Dragons” in Erotic Economies, Liz Flyntz and Anna Scime ed. (Department of Media Study, SUNY Buffalo, 2010), 7-13. “Zwischen den Jahren” in exh. cat. Citymap. (Weimar: Verlag der Bauhaus Universität, 2010), 23-25.
MEDIA SKILLS Microsoft Office, Adobe Creative Suite, prepress and preflight work for print production, Filemaker Pro, Audacity, Peak, Spear, Logic Pro, Ableton Live, Soundhack, Final Cut Pro, DVD Studio Pro, Basic HTML, Basic CSS.
LANGUAGES German (conversational), Spanish (conversational)
REFERENCES Christopher Roth, Artist email@example.com, +49 171 81 74 004 Georg Diez, Journalist firstname.lastname@example.org, +49 160 90 23 92 30 Lisa Brawley, Professor, Vassar College email@example.com, 845-437-7862 Mary-Kay Lombino, Curator, Vassar College firstname.lastname@example.org, 845-437-5240