In 2018, Berlin’s vibrant young art scene has been enriched by a new serial format promoting the works of emerging artists: Dirty Debut. Its third event carried the motto SNICKERS and after the previous episodes were dominated by dance, sound, and theatrical pieces, I wanted to contribute to the legacy of performance art by accumulating extraordinary performance art pieces in an act of hot and kinky appropriation. The night’s motto reminded me not only of a popular candy bar but also of a slang term describing a specific sexual practice. So I selected four performance artists, whom I find both as a person and artistically arousing: Danny Gaudreault, Tomasz Szrama, Maurice Blok, David Frankovich.

My work’s title “Stealthing Shit” refers to intrusive (sexual) theft as I stole elements of each of their performances and rebuilt them into an original piece of performance art myself—when I transfer their past artistic property into my creative present, the original loses its importance, or better said: Nothing is original. I chose to steal from that which spoke directly to my soul and from what I find to be exceptional pieces of recent performance art history. In order to let my audience not only witness but substantially experience this history, I had to involve them by becoming complices of my artistic theft and its unique transformation. Almost all images of “Stealthing Shit” were only achieved with the help and physical cooperation of multiple audience members at a time, whom I conducted into materializing several ready-made-like and human-driven installations. In the end, both I and the audience created a new and ephemeral, briefly quoted, partially stolen, yet fully unique piece of art together. It felt like a rapid twenty-five-minute sex party in the name of performance art.