selected works

Supporto memoria/Memory Device (2024)
Reversal Exercise (2024)
Perturbazione/Disturbance (2023)
East Berlin 1990-2020 (2023)
He sido yo. Diario 1900–1999 (2023)
You Are Mine (2022-ongoing)
Orlando's Library (2021-ongoing)
The Beginning The End (2014-20)
Planet Earth: 21st Century (2015-19)
Это была я. Дневник 1900-1999 (2019)
1975 - Diario di strada / Diary from the Road (2017)
Bookshelf (2016-ongoing)
A New Bookstore (2016)
Én voltam. Napló 1900−1999 (2016)
Archive in Progress (2015-ongoing)
Danke Schatz! (2013)
My Film History - Daniela Comani's Top 100 Films (2012)
OFF - Landscapes With Sunset (2010)
Your Home in Berlin (2011)
Det var jag. Dagbok 1900–1999 (2011)
C'était moi. Journal 1900-1999 (2010)
我曾經。日記1900-1999 (2008)
It Was Me. Diary 1900-1999 (2008)
100 Jahre : 100 Sekunden (2008)
Ich war's. in 32 Tagen um den Alexanderplatz. 1805-2007 (2007)
New Publications Edited by Daniela Comani (2007-ongoing)
Coverversionen (2007-ongoing)
Fine (2007-08)
Bikini (2007)
Sono stata io. Diario 1900-1999 2006)
A Happy Marriage (2003-ongoing)
Ich war's. Tagebuch 1900-1999 (2002-ongoing)
Office Ladies (2002)
Printed Women #02/Japan (2001)
Printed Women (2000-08)
Happy Men (1999)
Fotoleinen (1996)
Jein (1997)
Palinsesto (1997)
Carne / Flesh (1995-96)
Abwesende Subjekte (1995-97)
Moskau-Tokyo (1993-94)
Kommunikation vs Entfremdung (1993)
Untitled / I Kiss Myself (1992)

selected drawings

Women on Plastic (2007)
Double Drawings/Japan (2001)
Ladies (2000)
Double Drawings (1995-2002)
Bosheiten / Cattiverie (1992-95)
Soggetti assenti, 1995-96, series of photographs/objects, c-prints, each 20x30cm
Soggetti assenti, c-prints on plexiglass, cut out, 50 x 70 x 5 cm
Soggetti assenti / Abwesende Subjekte / Absent Subjects
1995-1997, series of photographs
c-prints, cut out, each 20 x 30 cm (framed 22 x 32 x 2 cm)
and c-prints on plexiglass, cut out, 45 x 30 x 5 cm - 70 x 50 x 5 cm

Absent Subjects is a series made up of color photographs of interior spaces in which the figurative subject is cut out, leaving a void in its place. The silhouette remains and its clean, quiet sharpness becomes the new subject of the photograph. It is a portrait of absence.