Learning as Performance is a series of participatory works that turn the act of learning into artistic material. Instead of presenting knowledge as something already mastered, the works stage the uncertainty, vulnerability, humour, frustration, and pleasure of not yet knowing. Artists, experts, and audiences learn together, often across disciplines, generations, and different levels of experience.

The series responds to a culture increasingly shaped by polarisation, information overload, and the pressure to appear competent. At a time when admitting uncertainty can feel like weakness, the works create situations in which not knowing becomes a starting point for encounter and collective intelligence. By bringing real learning processes into museums and public spaces, Learning as Performance asks how art can create spaces where people are not simply invited to consume knowledge, but to question, practice, fail, and think together.

Commissioned for the opening of the new LWL-Museum for Art and Culture the performance began the moment visitors entered the main hall and encountered a group of nude models surrounded by artists drawing and painting them, accompanied by a large-scale video projection of the act of observation itself. Taking the human body as one of the earliest and most enduring subjects in the history of art, the work explored how meaning is produced through observation, representation, and interpretation. As audiences moved through the museum, a series of choreographed interventions activated relationships between artworks, architecture, performers, and visitors. Positioned between performance, visual arts, and public participation, the project highlighted the unique capacity of live performance to create new encounters with visual art and to foreground the active role of audiences in shaping meaning.

 Adaption extended the research initiated in Antropomorfia by exploring the relationship between human and animal behaviour. The performance placed dancers in direct dialogue with abstract, figurative, and anthropomorphic sculptures, creating a continuous oscillation between bodies perceived as social individuals and bodies perceived as physical matter. Through subtle shifts in speed, focus, weight, and intention, the choreography investigated how highly intimate forms of physical contact could gradually become naturalised and detached from the associations that often accompany human proximity in contemporary culture. At a time when bodily closeness is predominantly represented through sexuality, violence, or family relationships, Adaption proposed alternative forms of tenderness and physical organisation. 

Created at the Museo Nacional de Bellas Artes in Neuquén, Argentina, this dance intervention explored the relationship between choreography, observation, and museum space. Rather than presenting performance as a separate event, the work was a day long intervention  among visitors and artworks, creating temporary dialogues between bodies, architecture, and exhibitions. Developed in collaboration with photographer Roberto Hernández Queijo and students of the Escuela Experimental de Danza Contemporánea de Neuquén, the project investigated how movement can redirect attention and generate new perspectives on familiar spaces. By placing the body in direct conversation with the ushers artworks, the intervention highlighted the active role of observers in producing meaning and transformed the museum into a site of encounter, multiple interpetations, and  mutations perspectives.

Invited to perform at the Ludwig Forum, TRASHedy faced a change of conditions: how could a work created for the theatre inhabit a museum? Performed largely in daylight, the piece unfolded within a space whose architecture remained visible. Movement, timing, sound, and the relationship with the audience carried the theatrical experience without requiring the surroundings to disappear.

The presentation coincided with the exhibition Mies van der Rohe. Die Collagen aus dem MoMA, lending an unexpected resonance to the question of how spaces organise experience. Adapting the production became an opportunity to reconsider what actually makes a stage: its technical infrastructure, its physical boundaries, or the attention people bring to it. The encounter suggested that a museum can accommodate the concentrated time of a performance while retaining its own spatial identity.

Presented among others at the LWL-Museum für Kunst und Kultur, Where Is Banksy? was developed as a mobile performance for young audiences. Research into archival material documenting Banksy’s work, interventions, and public statements provided the starting point for translating his artistic positions into performable situations. The central tension was between legality and legitimacy: can an unauthorised act be socially meaningful, and does permission necessarily make an action just? Through movement, language, music, and images created live, the performance brought these questions into situations audiences could recognise and judge for themselves. Within a museum, this inquiry acquired a particular resonance. An institution that preserves and legitimises art became the setting for a performance about an artist whose interventions challenge established permissions. Banksy’s biography opened a wider discussion about ownership, public space, and the right to be heard.