Collaboration with the Holocaust Exhibition & Learning Centre

I have made a selection of art works that might resonate with the artistic engagement I am proposing for the Imperial War Museum and/or the Wiener Holocaust Library. I invite you to peruse my website in whatever way you wish, but this selection will hopefully give you an initial impression of what has propelled my practice for the past twenty years. 


I have produced a number of narrated pieces for museum audioguides, reimagining their didactic potential to mediate critical, affective, and musical encounters with museum collections, landscapes, and other spaces. Examples of this work include Interludes (pictured above), seven encounters with works from the collection of Stockholm’s Thielska Galleriet, focused on difficult museological issues like the colonial gaze, the objectification of women, and the suppression of queer desire; The Muranów Lily, an audio guide for a missing or perhaps fictious painting in the collection of the Polin Museum for the History of Polish Jews in Warsaw; and I Don’t Know Where Paradise Is, an audio tour of the private libraries of eder gay scholars in Amsterdam, London, and Montreal hosted on its own custom designed mobile app. The Guides section of my website features a comprehensive view of all my work with museums and their audio guides. 



I have produced a body of artistic work involving letters and epistolary materials, which often takes form through participatory projects. Regards is a tour of the RoSa library for feminism in Brussels, which guides readers through the collection to find a text they transcribe into a letter to someone they know; in You, Dear Doctor, Are My Only Rescue! (pictured above), an ensemble of performers transcribe, recite, and recirculate letters to Polish sexologists from the 1970s, 80s, and 90s; my epistolary collages document and aestheticise correspondence with various gay and lesbian academic, artistic, and literary figures. The Letters section of my website offers a comprehensive view of my work with epistolary material.  



Touching across time is a core concept behind a number of media and participatory artworks that involve the resuscitation and recirculation of identities, ideas, and practices from the queer, feminist, and musical past. These works often involve vocal calls transmitted across real and imagined distances, as is the case with The Return (pictured above), in which a boy soprano sings a vocal interpretation of an air raid siren; Nightbird, in which I sing as birdsong the names of gay artists who I wish could be my mentors, many whom have died of AIDS; and Noyades, which investigates the voice of the water where somehow has drowned, a sonic landscape proposed in an opera by Albern Berg. Many other projects reaching out to touch the past can be found in the Voices section of my website.