Rooted in the idea that all beings and things are materially connected, ‘Everything has been said, not done’ examines how our current reality settings — metaphysical assumptions about what is real, meaningful and possible — shape our world views and limit our imagination. Drawing on Federico Campagna’s critique of an ‘absolute language’ that frames reality through a technocentric lens, the piece questions how language, culture, and media condition anthropocentric perspectives.

The work considers the impact of short-form video content as both a reflection of cultural values and a tool of escapism that fragments attention and thought. Through an essayistic, split-screen collage of found footage from various social media platforms as well as original footage, it looks at how we engage with a world in crisis, and whether algorithm-driven content can be re-imagined to foster empathy and to envision alternative futures. Recognising energy as unfixed potential, ‘Everything has been said, not done’ invites viewers into a reflective space where empathy becomes a mode of attention, leaning into the idea that how we imagine reality might be the first step toward healing it.

Continue reading about the work here.

Content Advisory: This video installation contains footage that some viewers may find disturbing. Viewer discretion is advised.

A full list of sourced material is available for consultation here.

To watch the full video please send a mail to juliatroescher@gmail.com. 

This bench stands in relation to the film There was a Never, there was a Yes. Decorated with symbols featured in both the film and poem, the bench structurally resembles those set along the river in Mainz, where it was first exhibited. The bench creates a bridge between the viewer and the film, connecting the audience to its words and imagery. Experiencing the work also through touch fosters an intimacy between the artwork, the viewer, and the world beyond the context of an exhibition.

At the same time, the bench stands as an independent piece, challenging traditional notions of what is considered monumental. It remains undecided in its role—whether it seeks to claim the status of a cultural memorial or to exist as a quieter element of public architecture.

In the film the figure of a fish human stands as a metaphor for the genealogy of the universe as well as that of the artist. We follow the journey of a ceramic fish as it travels from one hand to the next, from place to place, from one time to another. We encounter grandmothers, mothers and daughters, experiencing a poem about the past, present, and future of human and more-than-human inhabitants of the planet. Shifting between lines of individual genealogy and cosmic creation, this work reflects on the private and broader relations we foster with our surroundings. Separate yet interconnected narratives converge to contemplate history, humanity, ecology; fish, mothers, spaceships, and the sea.

Venus transit (herald) 
2023Site specific installation, mixed media (incl. video, ceramics, textile, iPhones)



*click here to see a poster of this work @Onboards Biennale*

Venus transit (herald) is an installation, poem, film, it is a cut section into the infinite layers of the universe and us. Wip whip smack! Smack it is fast and full energy like an explosion, yet the Venus transit is also galactically slow, things take time to become, to spread, to reshape from dust. In this forming moment nothing should cater to our assumptions.... The floor is soft; the fishes, emerging from holes in the panneled ceiling, quietly sing to you a comforting song. But you have to get close.

This an installation I presented as part of the Master’s expo of Sint Lucas, Antwerpen, which was held in an empty old school building.

Dialogue Love Suspended in Us and Earth 
2021Site specific installation
Soil, rice glue, wood, clay