My work resists easy description
A significant part of the practice is consulting — with artists, cultural organizations, and individuals navigating complex terrain. That means developing strategies, building visibility, making introductions that matter, and occasionally doing the operational work that nobody else is doing. The work is often invisible. That doesn't make it less consequential.
Over fifteen years it has taken many forms — curatorship, cultural programming, strategic consulting, operations, event production, writing, and a particular kind of connecting that rarely appears in any contract.
I've worked at Hauser & Wirth and Galerie Nicola von Senger, with artists including Una Szeemann and Augustin Rebetez, with the Swiss Embassy in Mexico. I brought Ben Moore to Theater Neumarkt. The common thread is not a discipline — it's a way of reading a situation. Understanding its structure, its gaps, what it needs and what it could become.
I trained first as a biologist, which turned out to be good preparation for everything that followed. I then spent years inside the fine arts ecosystem — and studying it. My ZHdK thesis Make New Order mapped the fine arts system as an organism under pressure: financialized, commodified, in need of reorganization. That research didn't end with the degree.
Kultur Bordell is the framework I built for this practice. Not a brand, not an agency — a position. It holds the writing, the salons, the consulting, the projects that don't have a category yet.
