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White Space with six speakers, three large windows, and bench White Space with six speakers, a tap dance board, and a bench
Photo: Eberle & Eisfeld, © Luzie Meyer & Sweetwater, Berlin & Fanta-MLN, Milan. Berlin Piece for Voice and Tap Dance, 2025 Installation View of Passing the Fugitive On 13th Berlin Biennale 2025. In her six-channel sound installation, Luzie Meyer uses poetry and rhythm to reflect on a tense, dystopian present. Drawing from personal notes on political events, media, and everyday encounters, she transforms these fragments through repetition, rhyme, and sound play into sonic poetry. The work is grounded in tap dance, a form demanding discipline and focus to enable improvisation. Its layered history (from resistance to entertainment) echoes the complex past of the Berlin-Mitte venue. A maple board, used by tap dancer Cristina Delius to produce the percussive base for the piece, complements the installation.
small orange book half blurry on pillow
Photo: Benjamin Breitkopf. Tendencies, 2024 Collected Writings 2015-2024. Self-published in collaboration with Fanta-MLN, Sweetwater, and Fürstenberg Contemporary. Printed by Studio Paolo Nava. 150 copies. To purchase one of the remaining copies, contact galleries.
small orange book half blurry on pillow
Photo: Fabian Brennecke. Performance at KINDL Berlin, 2025 Finissage of Caught in a Landslide at KINDL – Zentrum für zeitgenössische Kunst.
Screen leaning on wall in Exhibition amidst Baroque Interior.
Photo: Manuel Carreon Lopez. Incognito Ergo Non Sum, 2022 Installation View of Ins Dunkle schwimmen -Abgründe des kreativen Imperativs. University of Applied Arts, Vienna.
White Space with mirror foil on windows and photos hung on strings from ceiling
Photo: Ben Marvin Thespians' Questions, 2022 As the thespian couple Rosencrantz and Guildenstern is confronted with the apparent closure of semi-fictional Café Answer, they find themselves caught in an ambiguous situation between lucidity and délire, in which, with strings attached, they approach the absence of certainty with an attempt to create meaning through linguistic play and soundful experiment. The two marionettes are the main characters in Luzie Meyer’s second solo exhibition at sweetwater, presented on the occasion of gallery weekend Berlin.
red carpet, TV screen, speakers, picture frames, person watching video on bench.
Photo: Jens Ziehe. Voir Dire, 2024 Installation Views of Caught in a Landslide, KINDL Berlin. With: Alex Baczyński-Jenkins, virgil b/g taylor, Christopher Kline, Luzie Meyer, Nguyễn + Transitory and Bussaraporn Thongchai, Andrea Pichl, Neda Saeedi, Melanie Jame Wolf. Kuratorin / Curator: Sadaf Vasaei
performer speaking into microphone in front of a facade, eyes looking up
Photo: Daniel Gottlieb. Reading Performance of Passion's Content, 2019 On invitation by Sarah Johanna Theurer for Portals & Cashmere Radio Berlin LIVE @ Lenbachhaus.
White Space with six speakers, three large windows, and bench White Space with six speakers, three large windows, and bench White Space with six speakers, three large windows, and bench White Space with six speakers, three large windows, and bench
Photo: Johan Österholm. Mint, Stockholm. 29th March, 14–17h, Zätasalen, ABF-huset. Instinct, Rewritten, 2025 Site-specific reading and music performance by Luzie Meyer, created for the Mint Poetry Festival at Stockholm’s ABF building. Honoring the Z-Hall’s Fluxus legacy, the piece pays tribute to Bengt af Klintberg’s experimental ethos. Accompanied by composer Vera V. Almgren, Meyer weaves sound from the venue’s architecture with references to Åke Karlung’s critique of mass culture and re-enactments of Åke Hodell’s anti-militarist sound poems. Framed by Stanislavski’s concept of emotional memory, the performance explores theatrical space as a site of both control and resistance.
performer speaking into microphone in front of a facade, eyes looking up
Photo: Diana Pfammatter. I was indulging in waking dreams, which had for their subject the formation of a succession of imaginary incidents., 2019 C-print in artist's frame. 32.5 x 37.5 x 4.5 cm
Person Speaking into microphone with winter jacket.
Photo: Lian Rangkuty. Performance at Bobshop Berlin, 2022 9th July, 2022. On invitation by Bob Kil.
Projection in dark space Projection in dark space Projection in dark space
Photos: Fred Dott Cyclic Indirections Solo Exhibition at Kunsthalle Bremerhaven, 2022 In the main exhibition space of Kunsthalle Bremerhaven, Luzie Meyer presented a large-scale video installation featuring three rotating projectors, whose overlapping images and sounds created a dynamic, disorienting environment. The footage—shot with a rotating camera—shows the artist collecting sound samples on different floors of the Simon-Loschen Lighthouse in Bremerhaven. As both the video images and projections rotate, the lighthouse’s guiding function is subverted, evoking vertigo and complexity. Sounds of iron rods, clay bricks, light switches, and metal wires form the basis of a chance-driven composition for the installation, and were also used to compose the soundtrack of a second video work in the show. This video piece was shown in the Cabinet of the Kunsthalle Bremerhaven. The work was developed in response to the encounter with the Simon-Loschen-Lighthouse and the coincidental reading of Sara Ahmed’s Queer Phenomenology. Departing from the lighthouse’s function as orientation device, which interpellates individuals and regulates societal alignment, the artist framed the building as a phallic symbol of subjectivation. Meyer’s fictionalized ascension of the lighthouse staircase includes both first- and second person camera perspectives. Using sharp, swift montage, a bilingual (EN-DE) voiceover, and an original musical soundtrack, the filmed material was composed into a broken meta-narrative about the process of identifying, infiltrating, and sabotaging internalized societal norms. The video’s increasing brightness and color are counteracted by and increase of black- outs and flickers as the suspense rises. The voiceover features the artist’s own voice, as well as that of the Kunsthalle’s director Stefanie Kleefeld, and contains intentional mistranslations and self-reflexive formal elements. The piece includes references to Marcel Duchamp’s Nude Descending a Staircase, Chantal Akerman’s Hotel Monterey and La Chambre, and allusions to Homer’s Odyssey.
White Space with mirror foil on windows and photos hung on strings from ceiling
Photo: Diana Pfammatter I was required to exchange chimeras of boundless grandeur for realities of little worth., 2019 C-print in artist's frame. 67.5 x 56.5 x 4.5 cm.
Person Speaking into microphone with winter jacket.
Photo: Adam Harrison. Performance on 23rd April, 2024. Reading/Performance for Fanta-MLN at Repertoire, 2024 Fanta-MLN hosted by Repertoire, Berlin.
Luzie Meyer speaking into microphone in black box theatre setting
Photo: Unknown/Tech staff, University of Applied Arts Vienna. Reading/Performance at University of Applied Arts Vienna, 2024 Part of the lecture series Repetitions. Artistic Perspectives, organized by: Stefanie Kitzberger, Eva Maria Stadler & Jenni Tischer.
A cooperation between Collection and Archive & Art and Knowledge Transfer at the University of Applied Arts Vienna.
In Memory of Marina Vishmidt
Room with two vdeo projections on two screens opposite of each other.
Photo: ?. Lasciatemi Morire, 2021 Installation view of first solo exhibition at Fanta-MLN, Milan.
White Space with six speakers, a tap dance board, and a bench
Cover Design: Aislinn McNamara; Ellen Yeon Kim. Sybil’s Mouths, 2023 Co-edited with Rosa Aiello, Ellen Yeon Kim, Erika Landström, Mark von Schlegell. January 2023, English with German & Arabic. Sybil's Mouths is the most recent in a series of publications by Pure Fiction, a writing and performance group with shifting members active since 2011. From February 12 to March 6, 2022, Pure Fiction presented an exhibition and performance program at the Kölnischer Kunstverein in Cologne titled “Shifting Theater: Sibyl's Mouths”. The starting point was a collective reading of Mary Shelley's 1826 novel The Last Man, in which the narrator discovers a collection of scribbled oak leaves scattered in a cave outside Naples. Alleged prophecies of the Cumean Sibyl, the textual fragments inscribed on the leaves foretell the story of an epidemic that ravages the globe in the 2100's—a period where solitude, intimacy, and the perception of time is radically renegotiated.
color photo of short hair woman at dj desk
Photo: Magda Barthofer. Listening Session at Migas, 2024 Listening Session at Migas Berlin. Focus on femme* -vocality and percussion.
woman in dimly lit cozy atmosphere speaking into microphone
Photo: Benedickt Bock. Desire & Schock - An Evening with Luzie Meyer and Benedikt Bock. Texte zum Nachdenken at 14. August 2021, Plymouth Rock Zurich.
staircase, audience, performer, fabric on ceiling
Photo: Heiko Karn. Stitch Theory, 2023 for (c0da.org) Performance of the audio poem Stitch Theory(2023) for c0da.org Badischer Kunstverein Karlsruhe on 2nd June, 2024 in the framework of Katrin Mayer's exhibition #c0da comptoir #fanny carolsruh
White Space with mirror foil on windows and photos hung on strings from ceiling
Image: Luzie Meyer. The Acquisition of Language & The Language of Acquisition, 2021 In The Acquisition of Language & The Language of Acquisition, artist-poet Luzie Meyer traces the property of language to both confine and liberate, and the verbal means of expression available to us in times of digital media and algorithms. With the faculty of being able to express oneself through these forms (templates) comes the problem of false equivalence or commensurability: Unlike the spider that mechanically reproduces the same pattern again and again, The Acquisition of Language & The Language of Acquisition explores the gaps and interstices in which such tools and formats might possibly be used for different and poetic ends.
The long poem reads as a succession of “exercises” (chapters) and addresses the intricate entanglement between the individual and the universal, or the authentic and the socially constructed. Blending sound (among which are zither pieces of her friend Magda Barthofer, or composition techniques borrowed from musique concrète) with writing techniques such as cut-up, Meyer investigates the psychology of language forms and formats. As the narrator of the poem finds themself looking for a different and individualized alphabet, the use of an all-too-familiar language of therapy and self-enhancement reveals it as yet again firmly merging with the logic of neoliberal value and exchange.
The spoken word is accompanied and interrupted by musical interludes. The musique concrète compositions are created with a drum rack of original percussion sounds recorded at home, as well as with a ready-made set of sounds from Ableton. Additionally, the piece includes sounds of a lapharp (zither), played by Magdalena Barthofer, which were recorded with Ableton with an effects pedal. Link to the Podcast.
person with had lamo sitting on top of lighthouse with headlamp facing camera top of lghthouse, with faint figure with head lamp person looking into the depth of a lighthouse on top through trap door
Video Stills, © Luzie Meyer. Cyclic Indirections, 2022 HD video, 12 minutes, 21 seconds. First shown at Solo Exhibition Cyclic Indirections at Kunsthalle Bremerhaven. Curated by Stefanie Kleefeld.
poster announcement for book launch with black and white splash drawing
Photo: Marie Karlberg. Performance at Beau Travail Performance at the Opening of Solo Exhibition at Beau Travail, Stockholm. With further performances by Iris Smeds and Eugene Sundelius von Rosen.
poster announcement for book launch with black and white splash drawing poster announcement for book launch with black and white splash drawing
Photos: Viktor Fordell. What just is Just is, 2024 Solo Exhibition at Beau Travail, Stockholm. September - November 2024.
poster announcement for book launch with black and white splash drawing
Flyer for booklauch of Sybil's Mouths at Bar Voyage 9th March, 2023. Flyer Design by: Aislinn McNamara. Launch Event of Sybil's Mouths, 2023 Event co-organized with Pure Fiction (Mark v. Schlegell, Erika Landström, Ellen Yeon Kim, Rosa Aiello)
pseudo scheme with thread and needle
Image: Luzie Meyer. MP3, Audio poem for www.c0da.org. 11 minutes 22 seconds. Link: Stitch Theory, 2024 Stitch Theory is a lyrical audio piece commissioned for c0da.org in 2023. Weaving together metaphors and idioms around craft with phrases alluding to astrophysics, confessional writing, and the mythology of the Moirai, the piece creates a dense web of references and resonances. c0da.org is a research project and publishing platform conceived by artist Katrin Mayer that deals with feminist modes of coding and writing.
half face of a woman using a minitature crossbow in a neo-gothic staircase half total shot of woman pointing her finger in rehearsal space woman screaming in a courtroom half total of woman facing camera in a courtroom, tv screen in background woman facing camera scepticaly inside blue lit elevator establishing shot of woman tumbling down neo-goethic staircase in laughter
Still Images, © Luzie Meyer Voir Dire, 2025 In Voir Dire (2024), Luzie Meyer invites actor Maria Lehberg to rehearse and reenact a pivotal courtroom scene from …And Justice For All (1979) inside a real Berlin district court, replacing Al Pacino’s male defense lawyer with a female-reading performer. By repeatedly rehearsing the monologue in varying emotional registers, the piece subverts the original power dynamics and provokes emotional dissonance, generating a sense of alienation. Blending improvisation, German-language elements, and documentary fragments, the video interrogates the interplay between emotional bias, moral judgment, and legal rhetoric, placing viewers in a charged space between voyeurism and address, and highlighting the fraught tension between individual rights and institutional violence.
two women in the storage of a museum two women in the storage of a museum two women in the storage of a museum two women in the storage of a museum two women in the storage of a museum two women in the storage of a museum two women in the storage of a museum
Still Images, © Luzie Meyer & Rose Beermann Guerilla Videos (with Rose Beermann), 2012 Two videos filmed during the installation of Moment: A History of Performance in 10 Acts at ZKM Karlsruhe in 2012.
staircase, audience, performer, fabric on ceiling
Photo: Mareike Tocha. The suns of my benightened soul, 2022 C-print in artist's frame. 32.5 x 37.5 x 4.5 cm.
white wall in dark room, figure singing behind wall poster for Miss St.
Photo: Cathrin Mayer. KW Institute for Contemporary Art Berlin, 14th – 15th April 2018, 8 pm. Music Performance for Miss St.'s Hieropglyhic Suffering at KW Berlin, April 2018 A re-production of Act II of Ariana Reines’ dramatization Telephone of Avital Ronell’s Telephone Book (1989), on the occasion of Judith Hopf’s exhibition Stepping Stairs at KW Institute for Contemporary Art. Chewed, conducted, staged and rewired by Rosa Aiello, Elif Saydam, Mark von Schlegell, and/or Anna Zacharoff, with live musical score by Luzie Meyer. Blackout. Sound. Blackout. Rhapsodized women rage. 40+ minutes. At least. Invisible interlocutors plug in to a web without weaver. Mute eternities, pregnant pauses, hang ups, distractions…some hits, a Miss. Tech spiders under hunchback pack tightly jammed lines; to get in touch; song rings out. The telephone itself gives way … to the telephone, sorry! Even that is old world now. As is the tone. So consider the woman in the phone, not only the phone in the woman. Play her back as a séance, and a plea, plied for your pleasure. Mobile phones off!
Person reading poetry into microphone
Photo: Magda Barthofer. Performance for Texte zum Nachdenken at Kemmler Foundation Berlin, 2024 This edition of Texte zum Nachdenken with reading performances by Luzie Meyer, Seda Mimaroğlu and Eleni Poulou took place on Saturday 8th of June 2024 at Kemmler Foundation in Berlin. Texte zum Nachdenken is a series of reading performances within the fields of visual art founded in Zurich by artist Benedikt Bock. In 2023 artist Sarah Lehnerer joined the team. https://www.textezumnachdenken.com/
staircase, audience, performer, fabric on ceiling
Photo: Mareike Tocha. I called myself hopeless, yet I still hoped, 2022 C-print in artist's frame. 37.5 x 32.5 x 4.5 cm.
staircase, audience, performer, fabric on ceiling
Photo: Mareike Tocha. Oh! Grief is fantastic!, 2022 C-print in artist's frame. 32.5 x 37.5 x 4.5 cm.
staircase, audience, performer, fabric on ceiling
Photo: Mareike Tocha. To receive as a good morrow the mute of one's own hapless heart, 2022 C-print in artist's frame. 37.5 x 32.5 x 4.5 cm.