Paul Huf Award, 2026
Installation Views
Installation View of
Something Old, Something New, Something Borrowed, Something Blue
at Images Vevey, Musee Jenisch, 2026
All the generated collages are exhibited in glowing lightboxes, when you enter the room through a blue velvet curtain, it is the first thing you see.
If you turn around you see the sketchook pages as wallpaper on the wall. Every decision that went into creating the series is explicit there, the thoughprocess, hesitations, the dirty laundry of the project to put it bluntly.
On the left and right side are wallpaper images - a close-up image of an Eye and a Theater with Blue Curtains.
In front of the Blue Curtain wallpaper the only photograph stands, illuminated with a spotlight shining from the ceiling.
Installation View of
There is Nothing New Under the Sun
at FOAM, Amsterdam, 2021
The images are exhibited in wood frames of the same size. Next to the images in the red frames are silkscreen posters, stacked on top of each other. The visitors can just tear them down and take them home with them.
In front of the images is a yellow table, filled with all the pages of the book See Daylight which accompanies the photorgaphs.
Ways of Remixing
Ways of Remixing is an artistic research project that attempts to make sense of our contemporary image culture from a photographer's perspective. A photographer who, at first glance, might seem to have betrayed her colleagues by turning to generative AI systems to make new work. My argument is that generative images did not create a crisis in contemporary photography; they revealed one that was always already present. The indexical guarantee of photography, its claim to faithfully record reality, was always more fragile than the culture built upon it wished to believe.
The thesis moves between personal essay and academic theory, drawing on postmodernism, hauntology, post-photography, and apparatus theory. I look at the work of three artists – Charlie Engman, Weronika Gesicka, and Joan Fontcuberta – as envisioners in Vilém Flusser's sense: practitioners who turn the automatic apparatus against its own condition of being automatic. I position Refik Anadol as the counter-example: the functionary who mistakes the program for vision.
The thesis concludes with an analysis of my series, Something Old, Something New, Something Borrowed, Something Blue, which explores the unconscious and how learned patterns of behavior slowly take over our lives without us even realizing it. In this series, I use generative AI not through text prompts but through an iterative image-to-image process, feeding the apparatus fragments of my personal archive so that two black boxes can communicate with each other: my own visual unconscious and the machine's compressed archive of collective visual memory. Here, they connect, influence, and most importantly, break their learned patterns of behavior together. What emerges is neither purely mine nor purely the machine's, but something that exists in the space between the two. It is the ghost of my archive, filtered through the collective visual imagination of everything the model was ever trained on.
The series and the thesis are parallel investigations of the same question: what it means to work honestly inside a technology that is reshaping visual culture from the ground up, and whether, within that condition, genuine critical image-making remains possible.
Something Old, Something New, Something Borrowed, Something Blue
When I was 12 years old, my mother’s frustration with me for not talking that much got to the point of argument.
“Why don’t you speak, like any other normal person?” she raised her voice at me.
I promptly answered,
“Instead of speaking, I have images in my head.”
Since then, at every family dinner, she tells this story as a joke so people don’t question why I’m the silent one in the family.
Our unconsciousness is a tricky territory, our deepest fears, memories, traumas, flashbacks, and free associations come to the surface mostly through some form of visual representation. We dream. We also assume that these thoughts and images are individual, our patterns and past are coming to the surface, and we embrace them with our uniqueness. But what if we could harness our collective unconsciousness?
The project deals with the subconscious, how patterns of our behavior are slowly taking over our lives without us even realizing it: human relationships, friendships, love interests, and our reoccurring schemas in our lives that without self-reflection are so hard to escape. Themes we discuss with our therapist but try to avoid in public.
I blend analogue photography, sketches, and AI-generated imagery,
I explore how unconscious thoughts shape our lives. The project reflects on memory, imagination, and the tension between control and algorithmic unpredictability.
As hard as I tried to escape AI as an image-making tool, in the end, I realized it’s the perfect one to talk about the collective subconscious. Do Androids dream of electric sheep? They certainly held a mirror of our collective visual connections and our deepest visual patterns, electric sheep of our communal automatism. The project steps into this visual labyrinth of our schemas. Not just mine, but our collective 21st-century digital subconscious.
I still don’t talk that much, but now at least my mother can see those images that I was talking about.
Detail from Sketchbook
Detail from Sketchbook
Detail from Sketchbook
Detail from Sketchbook
Detail from Sketchbook
Premiere at Images Vevey, Musee Jenisch, 2026
Prometheus
Commisioned work for
Art Encounters Biennale
The 5th edition of the Art Encounters Biennial My Rhino is not a Myth focuses on the intersection between art, science and fictions, by exploring their potential to reclaim reality as a mesh of complex processes. In between scientific explorations and imaginative speculation, it touches upon stories of the unknown and the drive to change, adapt or subvert.
Art Encounters Biennale
The 5th edition of the Art Encounters Biennial My Rhino is not a Myth focuses on the intersection between art, science and fictions, by exploring their potential to reclaim reality as a mesh of complex processes. In between scientific explorations and imaginative speculation, it touches upon stories of the unknown and the drive to change, adapt or subvert.
Art Encounters Biennial, Timisvara, 2023
Unfolding as many narrative threads, the biennial draws inspiration from a remarkable example of artistic and scientific imagination: Albrecht Dürer’s renowned work Rhinocerus, created in 1515 without the artist ever seeing the depicted animal. It was a response to a strange encounter, the first rhino traveling to the European continent since antiquity. But Ganda, as its Gujarati name was, reached Pope Leo X only as a taxidermic relic. Dürer’s imaginative woodcut became one of the most influential animal images, finding its way into scientific publications up until the 18th century and continuing to be incorporated into numerous artistic imageries long after.
With the Rhinocerus, the power of the imaginative reflects on both the artistic and scientific realm; on forms of collaborations that haven’t yet been systemized and divided in what modernity will frame as The Two Cultures: sciences and humanities. But Ganda was also a breathing being, one of the living artefacts serving as accessories of power. Its voyage around the world also mapped a geopolitical trajectory in all its haunting history of violence. Therefore, it tells a complex story of entangled places, manners of knowledge-making and a society in a profound process of change.
Art Encounters Biennale Concept
Art Encounters Biennale Concept
The title of the biennial ties a connection to the play Rhinocéros, written in 1959 by the Romanian-French author Eugène Ionesco. A response to the rise of authoritarian regimes and complicity, the original story envisions the inhabitants of a small, provincial village gradually turning into rhinoceroses, while constantly denying the undergoing mysterious process. My Rhino is not a Myth reclaims this power to resist forms of conformity, and instead relies on the imaginative abilities of science and art to create breaches into accepted truths, and address processes unaccounted for.
The biennial therefore proposes a crossover of art, science and fictions as new ways to look at things, underlining the vitality of their entanglement in the fabric of life and reality. They create “art-science-fictions” as a fluid exchange between scientific and artistic approaches that respond to changes in our lived realities, which are marked by environmental and social transformations.
Art Encounters Biennale Concept
Art Encounters Biennale Concept
I’m Afraid I Can Do That- Group Exhibition @ Torula, Győr, Hungary, 2023
I’m Afraid I Can Do That- Group Exhibition @ Torula, Győr, Hungary, 2023
See Daylight
See Daylight is an attempt to understand and question the market forces that shape young artists of today. It’s not a text that takes this challenge easily. It does not want to lie down a strict story, or one interpretation of our current discourses, but instead, challenge and take the reader on a journey. By breaking the fourth wall, it speaks directly to the reader in an attempt to start a conversation that is unfolding and by no means is closed or finished. It is a playful, self-reflective, open-ended conversation between reader and writer.
A book for young artists starting out today in the art market, trying to survive and be seen. There are many books out there that are meant to give carrier advice to the new generation. How to reach audiences, how to sell your work, how to find a gallery, basically how to make it.
See Daylight challenges these discourses. Instead of offering a business plan for individuals out there eager to fulfill themselves, it questions these power relations and market forces. It is a conversation, not a one-way critique of the art market, but instead hopefully a start of a critical, honest conversation.
Concept and Text: Kata Geibl
Graphic Design: Csenge Katinka
2021
The work starts with the analysis of postmodern discourse, and how postmodern ways of production still frame the cultural logic of today. This chapter equips the reader with the skill set to interpret and question the narratives of cultural conflicts which transformed the Western World into a tense, divided society.
The following chapters sketch out how neoliberal modes of production changed our perception of reality and our workday. The framework of consumer society and competitive individualism how an entire generation called the Millennials were faced with a new ideology, centered around the importance of individual responsibility.
After the analysis of political forces that abandoned collectivism and placed its emphasis on the empowerment of the individual and their progress as the key to success, the thesis untangles some of the ways in which these forces affected the art market from the 1970s onwards, and how these power relations are still affecting artists today.
More information soon