What happens in artistic processes in which knowledge and practices are not applied in relation to material knowledge and craftsmanship? To what extent are these processes linked to movements searching and doubt require the unlearning of long practiced procedures?

Processes and experiments in art receive thus initial impulses from movements, are carried by them. In this regard, I am interested in the close connection between the production process with different kinds of materials and its simultaneous receptive experience, the process I understand as a fleeting, mental as well as physical working. These procedures are directly linked to materiality, to an embodiment, to a body that, however, is constantly transformed and itself in motion. Approaches of material culture, material agency as well as material feminisms are also of further interest and how they are connected with the temporal process of intra-acting forces Karen Barad addresses and which creates an experience and perception of the permeability of bodies. According to John Dewey, the experience of art is indivisible social action itself, in which heterogeneous experiences find expression in diverse activities, media, and materials.

In this context, my focus lays on artistic interventions that examine various ways in which bodies move—as modes of situating oneself in liminal zones and, thereby, transformation—that reflect on one’s own socially ascribed roles, and that are connected to an experience of materiality. Artists who, for example, engage with process-oriented assemblages and constellations—such as temperature differences and the solubility of substances—and expand upon them through material experiments. In doing so, they examine contaminated, and in some cases toxic, processes in both artistic and historical production practices in photography, sculpture, painting, and installation, scrutinizing and reflecting on their social and political dimensions. To capture the artists’ reflections in their works on the sociality and materiality of bodily movements, I seek to work with a politics of difference and a philosophy of movement. In doing so, I follow a non-representational approach to relationship, fluidity, and embodiment, which is essential for analyzing and contextualizing artistic works and their transfer into spaces that allow for a precise reading of their histories and intra-active relationships.

In the process, (neo)materialist and queer-feminist theories offer further insights, as they address—from an onto-epistemological perspective—the interplay of material, social, and political effects on bodies. Karen Barad proposes a performative approach that conceives of perception and thought as emerging in relation to the world. Both Barad’s approach to discursivity and materiality—which combines the philosophy of science with critical social theory—and Donna Haraway’s reflection on “otherworldly communication” regarding the connection between organisms also scrutinizing perspectives that emphasize detachment and distance. Instead, they emphasize the relevance of this connection and focus on connectivity. Thus, there is a focus on discursive formations in which bodies are understood as part of processes of exchange—as sequences and movements in their entanglement with the environment and their desires.

The Bauhaus artist, thinker, and author Anni Albers already addressed in *On Weaving* (1963), materiality in fabrics, colors, words, tones, spatial volumes, and movements; she reflected on the often-neglected role of haptics, tactile experience, and the sensitivity of all the senses, and on how these elements are interwoven in cultural, social, and political contexts, much like the structure of a knitted fabric. To what extent qualities such as roughness, smoothness, brittleness, sponginess, and porosity—as external and internal characteristics of constellations—can be considered in terms of their non-functional, responsive, and non-utilitarian properties, and how they shed light on their own resistant practices of visualization and on the politics of the material, is a movement of search and doubt for Albers. This sometimes requires, in terms of methodology, a subjective and lateral perspective, the incorporation of oral history practices, and are situated within the research material and recording media—practices that emerge both as reappropriations and as acts of resistance within the material under consideration.

Filmmaker and theorist Trinh T. Minh-ha describes the constant shift between her roles as writer and reader, which breaks down fixed perspectives. In this process—which she also describes as a tapestry of various threads following (geo)poetic, social, and (geo)political strands—movements emerge that are inscribed through the rhythm of her voice in both, the text and the film.

Also the post-colonial thinker Gayatri Chakravorty Spivak draws the image of an "invisible mending"—the fabric—and addressing the need to weave in previously invisible perspectives and strands into the cultural and social fabric.

For me, the focus lays therefore on weaving in artistic perspectives that have received little attention thus far, as well as on the ephemeral process that takes into account collaborative practices and their political, social, as well as transcultural constellations, and reflects on their artistic works as forms of social action.