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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↘︎ 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
OktoLab


↘︎ Education 
     
2021–2022:
MA Art and Ecology (Distinction),
Goldsmiths, University of London

2016–2021:
MFA Media and Fine Art (Distinction),
Academy of Media Arts Cologne

2019:
ERASMUS Cross-Disciplinary Strategies,
University of Applied Arts Vienna
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 @ recessed.space