Care Game was a project co-created with the children of Banana Mountain School in Órgiva, Spain, aged 6 to 16.
Over a period of five weeks, I lived off-grid on the school grounds alongside about 25 other artists. We were responsible for meeting our own basic needs and creating a sustainable co-living situation for potential future artists-in-residence. At the same time, we gradually got to know the students of Banana Mountain School through workshops. This teaching method was familiar to the children, as it was part of their co-created, democratic learning community.
I introduced myself through play. First, we exchanged our local children’s games, and then we created a new game together with the children. The only condition I set was that they had to bring a raw egg that could not be broken—a symbol of care and responsibility.
This resulted in an obstacle course suitable for all ages and abilities, with the goal of safely delivering the egg home. The rules and scoring system were based on creativity, care, and inclusivity. While speed and strength are usually the main factors for winning, they were not necessarily advantageous for safely delivering the egg to its final destination. Instead of playing as individuals, the children had to form teams of eight, and the final result was the average score of the entire team.
The course was built using materials found on-site, and everything was created collaboratively with the children and staff of Banana Mountain School.
Care game
During the final show, I organized an online artist talk series called The Referee. In this format, the interviewer took on the role of a referee, pretending to decide what was “right” or “wrong.” Participants were not allowed to speak from personal opinion but were challenged to frame their words in general and universal terms, drawn from the dictionary book I provided, titled Ability.
REFEREE
INTERVIEWS
SLEGTE TV
TV SHOW
Slegte TV was a collaboration with four other artists. Together and individually, we created work that was presented online. My role within the group was that of coordinator and curator. Together with Maja Bojanic, I developed the concept.
Our starting point was to bring back the tension and curiosity of the early days of television. At a time when screens were already oversaturated, we wanted to revive the joy of watching. For promotion, we chose a teletext-like design, which—just like in the past—revealed only limited information.
We created a fixed program that was neither recorded nor available for later viewing: you had to tune in at the right moment to experience the shows. For three days, we broadcast three programs daily: a series of one-minute videos, a fictional live show, and a film by an artist.
Fleur Dijkstra was a project in which I confronted the alienation I had experienced and sought to say goodbye to all the expectations that had been imposed on me. The project began through a conversation with artist Can Demren, who invited me to collaborate at Gallery SIGN on the theme of the “strange body in the land.” He asked me to create a performance in which I embodied a “normal” body in this context. I took on the role of a bartender during the opening, serving visitors while remaining in character and observing their reactions. At the end, I revealed myself. Later, I transformed the performance into a video work.