Berlin Piece for Voice and Tap Dance (2025)

Excerpt of the 6-channel-audio installation created for the 13th Berlin Biennale.



Lüsterweibchen/A Chantar (2023)

The sound piece Lüsterweibchen emerged from research into female troubadours (Trobairitz) of 12th- and 13th-century Occitania (present-day Provence). Their courtly lyrics operated as performative, semi-improvisational spaces for subtle political critique, coded eroticism, and shifting gender dynamics within a rigid social order. The work features a recording of the first stanza of A Chantar by Comtessa de Dia—the only surviving troubadour song with melody—sung in Occitan and activated by a motion detector, resounding from two opposite walls.



Period Piece (2021)

Audio poem, also exists as a video piece, in which Suzie Meyer (a marionette) recites the text in a stop motion anination.



Komm Süßer Tod (2021)

Recorded for the video Lasciameti morire.



Lasciatemi morire (2021)

Monteverdi piece recorded for the video Lasciameti morire.



Passion's Content, Excerpt (2020)

Song, poem, and interview on Sarah Johanna Theurer's radio show Portals on Cashmere Radio, live at Lenbachhaus, Munich in the framework of Radioactivity. Listen to the full episode here.



Mouthpiece, Excerpt (2018)

Created for a group exhibition based on Studio for Porpositional Cinema's script Terms and Conditions: A Sonata For Two WomenProjektsrom Normanns, Stavanger, Norway. 2018.



I can use eggs however I please (2018)

Recorded while smoking a cigarette.



The Acquisition of Language & The Language of Acquisition, Excerpt (2019)

Excerpt of a longpoem created for Pogobar Podcasts of KW Institute for Contemporary Art, Berlin. Listen to the full piece here. In The Acquisition of Language & The Language of Acquisition, artist-poet Luzie Meyer traces the property of language to both confine and liberate, and the verbal means of expression available to us in times of digital media and algorithms. With the faculty of being able to express oneself through these forms (templates) comes the problem of false equivalence or commensurability: Unlike the spider that mechanically reproduces the same pattern again and again, The Acquisition of Language & The Language of Acquisition explores the gaps and interstices in which such tools and formats might possibly be used for different and poetic ends.



Sigh No More (2017)

For Der Tempest, a performance by Pure Fiction at Kunsthalle Darmstadt.