Installation | Germany | 2022

Exhibited at CLB Gallery, LABA Broken, Berlin 2022



A memorial to the fictional German corporation Thrypp, a weapons manufacturer.

The installation combines objects associated with German, Jewish and colonial history in the 20th century, from genocide and exile to modern military technology, including denture with a golden tooth, a fragment of concentration camp fence, a corporate video of nuclear Thrypp submarines, a fake African goddess sculpture filled with Euro bills.

These objects serve as a conceptual bridge to the new satirical film ‘Reparation Day’, to be released in 2024.

On the LABA Broken exhibition:

“How do Jewish artists navigate the tension between brokenness and reconstruction, between destruction and repair, between crisis and healing?

Eight Germany-based Jewish artists have dealt with these questions during their months-long program LABA Berlin: a Labo- ratory for Jewish Culture.

This fellowship offers a secular study of Jewish religious texts as a source of artistic inspiration and makes the diversity of Jewish art and culture visible in public spaces.”

Documentary | Germany | 2021 | 24'

Co-directed with Jorge Loureiro

Screened at DokKassel, 2021, nominated to Golden Key Award;
Haus der Kulturen der Welt, 2022;
IG Farben Haus Frankfurt, 2022;
Public Fictions Leverkusen Exhibition, 2022


The film investigates the mysterious disappearance of sculptures from a park belonging to the global headquarters of chemical corporation Bayer in Leverkusen. The statues had been commissioned in the 1930s to Fritz Klimsch, a German sculptor included in Goebbels’ “Gottbegnadete” list of crucial artists to Nazi culture.

Shot over three years with the background of Bayer’s 2018 acquisition of Monsanto, the film sheds new light on the relationship between the German agrochemical giant and its Nazi past as the chemical conglomerate IG Farben.

Featuring dialogues with lawyers, Brazilian land activists, a bomb disposal expert and Bayer’s CEO, Better Science is a poetic take on the company’s  massive expansion of its global power.

Docufictional Film | India | 2021 | 40'

A Brazilian director travels to India to shoot a reality TV show pilot about his many relatives’ dispersed around the world. For the first episode, he approaches his estranged brother Rudi, who has become a tech enterpreneur after graduating from an elite military school in Israel. As personal and political differences are stirred up, issues of framing, trust and national identities are put to question, in a clash between two brothers and two worldviews.

Supported by Goethe-Institut / Max Mueller Bhavan Bangalore, as part of bangaloREsidency@Jaaga 2018

Film | USA | 2019

Complete film:

Mother of All Fictions is the story of a failed film project.

2016: South American filmmaker Walter Solon travels to Los Angeles. His goal is to write a feature film based on the biography and mythology around his great aunt Lina Mosebach. Lina had migrated to Los Angeles after surviving the Holocaust and spending her teenage years with Walter’s great grandparents in South America.

The family myth holds that Lina went to become a CIA screenwriter and film theorist, therefore cutting all contact with her family in South America. Walter tries to track down his great aunt (who might be still alive), while working on a script, casting and location scouting for a "feminist biopic" about Lina.

As new gaps of representation emerge and personal connections are made, the impossibility of a faithful rendering of his propagandist aunt become more and more acute. While Walter’s plan of joining an LA film school and making the film might never materialize, what we watch is a recollection of that time, years later, using fragments of location scouting and casting material to tell the story of an unfulfilled project.

Fail again, fail better. 

Collaboration with Jorge Loureiro

Commissioned by Nina Franz and Christian von Borries for the exhibition A Better Version of You, at Art Sonje Center, Seoul (Dec. 2017) and Goethe Institut Beijing (March 2018)



BayEarth is "a prototype for an artificial soil compound developed by the German company Bayer."

Leather text:

We arrived in the guise of independent travelers to the former agricultural penal colony of Carrasco Bonito, in the state of Tocantins, Brazil. The town’s name, translated as “Handsome Executioner”, sounded painfully ambiguous to our ears, which had grown accustomed to mellower connotations in our German exile.

Young Bayer Brazil’s R&D personnel picked us up. At the experimental farm, they inquired about the scope of our research report. It was hard to tell who was in charge. All scientists, farmers and undercover PR agents displayed horizontality and humbleness in their gestures and manners.

“The brains behind BayEarth®,” one young scientist announced, “is no older than 25 and prefers to remain anonymous.” Of course we knew who she meant. We let her continue to reveal their findings after one year of utopian farming and social engineering in that outpost of progress.

“BayEarth,” the scientist resumed, “is a prototype for an artificial soil compound to be used in the rehabilitation of degraded farmlands, ensuring the strategic expansion of agricultural frontiers and the prevention of upcoming famines and environmental catastrophes (...)

“Through their interaction with Cabelo® precision agriculture sensors via instrumental trans-communication, BayEarth particles learn mimetic behavior from organic and inorganic microbiome entities, gather tactical data on deep local geohistory and transmit them across global supply chain networks in no time (...)

“Once BayEarth has been introduced to a given farm, neighboring farmers need only install Cabelo sensors on their properties and the particles will autonomously breed and migrate to new areas, replacing the original soil that had been degenerated by deforestation, poison, monoculture, overgrazing, land grab and genocide.”