Pascal Marcel Dreier listens to and narrates more-than-human stories. They are assistant professor of Multispecies Storytelling at the Academy of Media Arts in Cologne. 

↘︎ News

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I am livestreaming irregularly over at — 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 ●  History and Theory of Design, HMKW 

↘︎ 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 ● ‘we, animals:  multispecies narrations’, MEINBLAU Berlin, DE

↘︎ Publications

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.

↘︎ Affiliations

TRACES Studio for Creative Investigation 
Minding Animals Germany
● Multispecies Studio
German Society for Media Studies

↘︎ Education 
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
Night at the Factory Farm — Livestream EventTwitch Livestream, Artist Talk & Panel Discussion
  • 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. Re-watch the live stream here
deprofundis.exeVideo Game Installation: LIDAR-Scans, Photogrammetry, Unreal Engine, Modified Pig Toys
  • Time: 2023

The video game "deprofundis.exe" (or: Night at the Factory Farm) 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
Mondsucht / Ludens Luna
  • Sculpture, Installation
  • Time: 2023

Installation view, “De Profundis”, Sindelfingen Municipal Gallery, 2023
Installation view, “De Profundis”, Sindelfingen Municipal Gallery, 2023

I am telling the story of an encounter with a pig that, along with a strange purple object, stands separated from all the others in the central aisle that activists enter at night. Read the text

Theatrum Osteologicum
  • 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.
Pets’ Island
  • VR Installation: Unreal Engine, Actors extracted from World of Warcraft, 3D-printed game assets
  • Time: 2019

“Pets’ Island” uses the MMORPG (Massively Multiplayer Online Role-Playing Game) “World of Warcraft” as a basis to critically reflect on what animality might mean within the virtual reality of the game. A central question it addresses is what animals from the games do when they are not currently “summoned.”

Institute for More-Than-Human Forensic Archaeology
  • Installation, Audiowalk, Institute
  • Bones, Field Recording, Lab Coat
  • Time: 2022

Exhibition view, Goldsmiths Fine Art Degree Show, Goldsmiths College, University of London, 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 @

Live Stock / Live Animals
  • Solo Exhibition, Academy of Media Arts Cologne
  • Time: 2021

Exhibition View, “Live Stock / Live Animals” (showing “The Hauling” and “Vigilant Practices”, Multispecies Studio, Academy of Media Arts Cologne.

“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).
Multispecies Mourning
  • 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.

Multispecies Mourning II x CIRCA: 3D-animation based on 3D-scans of calcined bones of farmed animals. On show as part of the CIRCA x Agnes Denes programme, Piccadilly Lights, London. 2022

ArrivalSound Installation with time-based Essay
Time: 2020

Exhibition View, “Live Stock / Live Animals”, Multispecies Studio, Academy of Media Arts Cologne.  
A van loaded with pigs arrives at the slaughterhouse. It waits briefly. "Arrival" features audio recordings annotated with excerpts from my field diary that I made at the gate of the Crailsheim slaughter factory, which were then assembled into an endless loop.
  • Found Artefact, Essay, Website
  • Time: 2019 – Ongoing

Documentation of Artefact 01

A pseudometeorite discovered at the crumbling wall of the largest animal processing industrial complex in Germany. It was a part of the complex‘ visual and auditory isolation concept and is made of a material that is commonly used for sound insulation walls at highways. The fragment and its discovery become the center of a speculative fiction, woven intricately with themes of ethics, ecology, research, activism, and surveillance. The microsite presents a 3D scan of one of the discovered artefacts as well as a translated and shortened excerpt of the original German story. Microsite