● I will be livestreaming every Sunday over at twitch.tv — sometimes with special guests. Join us!
↘︎ Select Teaching
● Multispecies Storytelling, Academy of Media Arts Cologne (KHM) ● Installation Art, KHM ● Multispecies Studio, KHM ● Interspecies Worldmaking, Köln International School of Design (KISD) ● Artistic Design, University of Siegen ● Digging—Methods Lab, KISD ● Multiperspective Methods & Technologies, KHM
↘︎ Select Exhibitions
2023 ‘DE PROFUNDIS’, Städtische Galerie Sindelfingen, DE ● 2022 Talk to me: Other Histories of Nature, Temporary Gallery, Köln, DE ● At the Edge of Safehouse, Safehouse, London, UK● 2021 ‘Live Stock / Live Animals’, KHM Open, Cologne, DE ●2020 ‘OCTOPUS ENCOUNTERS: An Immersive Library of Octopus Aesthetics’, Glasmoog, Cologne, DE ● ‘Perron Art Price’, Stadt Galerie Frankenthal, DE ● 2019 ‘Goodbye Cruel World, it’s Over’, Weltkunstzimmer Düsseldorf, DE ● ‘Animal Ludens’, Next-Level Festival for Games, Zollverein Essen, DE ● ‘Practices of Approximation’, Temporary Gallery, Cologne, DE ● ‘RUNDGANG’, Academy of Media Arts Cologne, DE ● ‘we, animals: multispecies narrations’, MEINBLAU Berlin, DE ●
● Dreier, Pascal Marcel, and Claudia Paganini. Eco Art als Ego Art? [Spiritualität zwischen Egoismus und Engagement], in: Datterl, Monika / Guggenberger, Wilhelm / Paganini, Claudia (eds.): Wofür es sich zu leben lohnt. Zum Verhältnis von Ethik und Spiritualität (theologische trends 32). Innsbruck: Theologische Fakultät 2022, S. 113-129.
● Dreier, Pascal Marcel. Closure of Openings, in: Jessica Ullrich, Frederike Middelhoff (eds.): Tierstudien Tiere und Migration [Animal Studies: Animals and Migration] 19/2021. Berlin, Neofelis, 2021.
● Dreier, Pascal Marcel, and Thomas Hawranke. Capturing the Wild: Virtuelle Pferde im Computerspiel Red Dead Redemption 2 [Capturing the Wild: Virtual Horses in the Computer Game Red Dead Redemption 2], in: Jessica Ullrich, and Stefan Rieger (eds.): Tierstudien Tiere und/als Medien [Animal Studies: Animals and/as Media] 18/2020. Berlin, Neofelis, 2020.
● Blöß, Janine, Ute Hörner, and Mathias Antlfinger (eds.) Goodbye Cruel World, It’s Over. Erdlings-
geschichten. Verlag der KHM, 2020.
● TRACES Studio for Creative Investigation
● Minding Animals Germany
● Multispecies Studio
● German Society for Media Studies
MA Art and Ecology (Distinction),
Goldsmiths, University of London
MFA Media and Fine Art (Distinction),
Academy of Media Arts Cologne
ERASMUS Cross-Disciplinary Strategies,
University of Applied Arts Vienna
- Time: 2023
Artist Talk and Game Walkthrough with the artist Pascal M. Dreier, curator Leoni Fischer, and as a special guest Professor Thomas Hawranke, PhD. Our discussion revolves around animals in video games, the animal industry, investigative aesthetics, and video games as an artistic medium. We show images from the exhibition and play the game. Visit our Twitch channel to re-watch the stream and join us when we are live again
- Time: 2023
The video game "De Profundis" leads visitors into a twilight space, where animal industry and pop industry meet in uncanny ways. Based on 3D-scans and photogrammetry data collected during activist undercover research in a pig factory farm, it enables the visitor to experience a place that was supposed to remain hidden. Visit the deprofundis.exe landing page
- Essayfilm / Lecture Performance
- Time: 2022
Theatrum Osteologicum is a film on bones, chimeras, and haunting. It is a summary of 15 months of research in London's waterways, museums, archives, and the artist's studio showing previously unpublished research material such as geophone field recordings, LIDAR-scans, and virtual representations of farmed animal bones found in the river Thames.
- VR Installation: Unreal Engine, Actors extracted from World of Warcraft, 3D-printed game assets
- Time: 2019
- Installation, Audiowalk, Institute
- Bones, Field Recording, Lab Coat
- Time: 2022
Many centuries have passed and the pile of bones on the ground of the Thames is growing faster than ever before. The pavement beside the river is punctured by little chicken bones. The pace of industrialised death in the 21st century is speeding up the growth of a sleeping creature on the riverbed.
This installation aims to subvert the conventions of art, science and museum curation in an effort to raise awareness about animal rights and resistance. An audio guide, a lab coat, and other props bring to life a fictional institute: The Institute of More-than-Human Forensic Archaeology. The institute challenges traditional museological practices and their failure to properly acknowledge the loss of animal lives, particularly domesticated animals. Bones of farmed animals, recovered from the bed of the river Thames, are arranged horizontally in the space. Synthesized animal voices tell a story of violence and resistance. A medieval-inspired monster from the Thames haunts the city and its interspecies atrocities. Review by Will Jennings @ recessed.space
- Solo Exhibition, Academy of Media Arts Cologne
- Time: 2021
“You have just dined, and however scrupulously the slaughterhouse is concealed in the graceful distance of miles, there is complicity.” Ralph Waldo Emerson, “Fate” in The Conduct of Life, 1860
Slaughterhouses, breeding and fattening facilities are located away from the big cities and far from beautiful old village centres; however, trucks are on the road every day – no one can avoid the sight of them. The animal industry moves, fixates, mobilises and immobilises non-human animals in various ways to transform living beings into de-individualised commodities. The animals, however, turn against the system, act in resistant and transgressive ways. However, they are not only mobilised for the purpose of their commodification, but also by humans who want to put an end to animal farming and offer refuge to those who escape this system.
The multi-part project discusses the forms of (im)mobility emerging in these contexts, their representations and meanings and revisits missing slaughterhouse geographies (Philo / MacLachlan).
- Sculpture, Installation, Photography
- Porcelain, Bone Ash, Bones, Bone China
- Time: 2019
In "Multispecies Mourning" I transmute the physical remnants of my partner's meat consumption—the bones—into a bone china urn. Disrupting the boundary between consumer and consumed through the artistic process as well as through its product. The process started with the question: can my partner and I live together despite differing ethical beliefs and actions? And how? I started to explore these questions through an entangled artistic process and an attentiveness to our intricate entanglements with the non-human life we ingest.
- Website, Code
- Time: 2020
Behind the nonhuman space is a server infrastructure that crawls masses of animal-tracking data from the animal industry’s servers. The server is not only archiving this data but turning masses of “body-data” into a “useless” Hertzsprung-Russell-diagram – creating a star-system, a more-than-human cemetery, nonhuman space.