My research based art projects often explore the practice of fiction-making as a political process in art, politics, history, and popular culture, with an emphasis on feminist, queer, post- and de(s)colon/ial/izing theories and practices. This interest of mine is closely intertwined with questions of linguistic, cultural and socio-political processes of transformation and translation, my role as an artist within them and the privileges I may lack or have as a result of my gender, race, class, ethnicity, age, education and profession.
In my artistic practice, I am not binding myself to a particular medium. I employ the media of video and photography, work with archival materials, language and sound, produce performances, printed matters and installations, write and publish, convene events and curate exhibitions.
Alongside my individual practice, I have collaborated with members of the artistic and/or academic community to realize projects that attempt to develop new strategies for collaboration, artistic research, and the creation of discursive interdisciplinary fields.
Since 2013 I have been part of INVASORIX, a queer/cuir-feminist working group in Mexico City who is interested in songs, video clips, publications and tarot readings as activist and didactic practices.
In 2012, Julia Wieger and I founded the Secretariat for Ghosts, Archival Politics and Gaps (SKGAL), an working group that focuses on the practices of feminist archival politics and history writing through texts, exhibitions, workshops, lecture performances and videos. In 2018, SKGAL’s feature film HAUNTINGS IN THE ARCHIVE! (2017) won the WOMEN’S VOICE NOW BEST DOCUMENTARY FEATURE AWARD. Since 2018 Julia Wieger and I have been part of the Ultimology Working Group of the Department of Ultimology in Dublin and Graz. Ultimology is the study of that which is dead or dying in a series or process. When applied to academic disciplines, it becomes the study of extinct or endangered subjects, theories, and tools of learning.