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)
It Was Me. Diary 1900-1999
2007/2008/2011

The English audio version of “Ich war’s. Tagebuch 1900-1999“ for the exhibition Transmediale.08 - conspire!, Haus der Kulturen der Welt, Berlin, 2008
Translated by Ann Cotton in 2007

The English version of “Ich war’s. Tagebuch 1900-1999“ for the site-specific installation for the 54th Venice Biennale, San Marino Pavilion, Venice, 2011
Print on Netvinyl, 400 x 550 cm

This project was like a journal about 366 days, from January 1st to December 31st. The events were taken from the history of the 20th century, and I wrote as a first-person narrator, as if from my diary. The selection of facts did not follow a historical hierarchy, but was very personal and varied, covering culture, sports, politics, and everyday news.  The first-person narrator runs almost out of breath - as perpetrator and as victim - through the history of a century, of my century.
The years of the events can be found in the chronology at the end of the book, or on the side of the work.