Karma of Existence: SHE, 2022, a video documentation of five performances. Pile, 2022, single-channel video, 10 min 53 sec, Hide, 2022, single-channel video, 15 min 08 sec, Swap, 2022, single-channel video, 8 min 40 sec, Walk, 2022, single-channel video, 31 min 38 sec, Lick, 2022, single-channel video, 26 sec SHE (2022) is a video documentation of five performances: Pile, Hide, Swap, Walk, and Lick. These actions explore the process of identity formation, drawing inspiration from everyday gestures. The performances take place mainly in public spaces in Vienna and Zurich. In Pile, I lie on my stomach and attempt to balance the weight of various household objects—chairs, tables, a rice cooker, a potted plant—stacked on my back. Only under the burden of life do I feel justified in existing—my pain proves my existence. In Hide, I climb into a large cardboard box at night in downtown Zurich, documenting the reactions of unsuspecting passersby. At the end of the video, a drunk man falls onto the box, unaware that I am inside. I act as an "existence of non-existence" on the streets, surrounded by intoxicated strangers—where does the boundary lie between my world and theirs? In Swap, my partner and I exchange our entire outfits, including socks and underwear. The act highlights the physical differences shaped by our ethnicities and genders. Stripping off the clothing that secures my femininity, I expose my body—where does my sense of identity originate? In Walk, I move through the streets of Vienna while my partner presses my head downward, as if a man is subjugating a woman. Yet, he cannot see where I am leading him—is this a form of co-dependence? In Lick, on Swiss National Day, I lick a Swiss flag in front of a café. As a citizen of multiple countries, I am torn between love and resentment for one of my homelands. How deeply has my identity been shaped by the country I grew up in? Across these performances, I create situations where opposing forces coexist, constructing a space of "existence of non-existence." I use the feeling of contradiction as a catalyst to examine the human condition and the spirit of our time. At the end of Hide, for instance, the drunken man collapses onto the cardboard box without realizing I am inside. This moment confirms my existence—revealing the fundamental fatality of human existence, bound to a physical, weighted, and vulnerable body. Through artistic practice, we can transcend this phenomenon, cultivating an awareness of our own human form. In Pile, Swap, and Walk, I collaborated with Yoshinori Niwa (*1982), a Japanese artist.