Alice Creischer's work continuously negotiates the relation between subjects and society (or, more specifically, today's capitalist society), and their ability to act within it. Her central concerns since the mid-1980s have been the examination of political issues by artistic means, and, closely intertwined with this, ethics, which she understands as a moral imperative to strive for enlightenment - for naming, revealing and highlighting the manifold injustices of the world, and for 'having the heart' to be consequent to her unwillingness to accept things as they are.¹ Creischer's projects range from individual works - mostly in performance and installation form - to collaborative productions with other artists and cultural practitioners (first and foremost with her partner, Andreas Siekmann), curatorial projects and critical writing. The multidisciplinary character of her production emerged from the Dusseldorf Art Academy and the Dusseldorf and Cologne art scenes in the 1980s, where political (and feminist) engagement was rare. Creischer's work from that period, such as the text- based installations Alle Tage Jericho, Ich Die Posaune (All Days Jericho/Me the Trombone, 1982) or Der Geburtstag (The Birthday, 1986), were experiments with handcrafted machines, which she installed in the exhibition space or took through the city, transforming them into performative tools. All Days Jericho, for instance, was an apparatus on wheels that Creischer pushed through Dusseldorf on foot whilst reciting a text that discussed this very action and which was amplified via a tube with several membranes. A system of mirrors facilitated navigation for the 'driver', and two cones re-directed sound from the environment back to the pilot. These early experiments with DIY technology examined the relation between text and image, and the viewers' apprehension of