Here I show projects created in collaborations, commission works, site specific works and photo projects.

Il Ragazzo e l´Orso, Trailer

Il Ragazzo e l´Orso, 2021
Video documentary of a performance in Pettorano sul Gizio, Italy, in collaboration with Antony Hequet and Rewilding Apennines

The performance Il Ragazzo e l´Orso was created for adults and children. It was shown in a historic mill building along the Gizio river. Antony wrote the story and is the narrator in our performance. I created the shadows for the 4 scenes out of simple cardboard. While I move the shadows, I wear my tree robe that I used already in my video The Art of Tree Walking.

Link to full video in Italian
Link to full video in English
Link to Rewilding at

Goddess of Truth, a story in 21 images, 2021, Berlin / Pettorano Sul Gizio

Show me that you are a human, 2018, 2.28 min
Collaboration work with Antony Hequet

Gyre Project Lab – The world as magic. Documentary sound of our Gyre Lab at Grütli Theatre, Genf

Gyre Project, 2017
Performance, Fort L´Ecluse, France

A performance in collaboration with Antony Hequet created for Fort L´Ecluse, which is located high above the Rhone river in France. We weave together the story of Melusine, the lady who transforms into a dragon, with the sounds of Antony and my live ink painting to celebrate “water”, the source of life.

Creator of my own Myth, 2016,
series of photos, 42 x 60 cm

The photo series is nor documentation of my sculptural work, nor portrait of me as an artist. Additional to our encounter a mask appears, that covers my face.

Follower, 2013
4 photos (cabin, office, studio, evening) created at Moha Residency, Korea, 42 x 60 cm

During my research about Korean shamanism, I was attested by a shaman that several ghosts were following me. In order to end this tracing, it was suggested to perform certain rituals. My project documents my tracing during one day in my residency and shows the places where I slept, did office work, did sculptural work and where I danced in the night. Before I returned to Germany I burnt the anthropomorphisations of my suitors.

The Essential, 2013

“Der Körper ist wie ein Stück Papier
das im Gestein der Wiedergeburt gelöscht
und mit jedem neuen Lebenslauf

neu beschrieben wird.
Wobei das Papier zwar vergeht

aber das Wesentliche erhalten bleibt.”

Aufgrund dieses Kommentars einer Besucherin im Gästebuch einer meiner Ausstellungen habe ich mich auf die Suche nach dem Wesentlichen gemacht. Herausgekommen sind Übersetzungen des Wortes das Wesentliche in verschiedene Sprachen und ein Leporello, das diese Wortreise dokumentiert.

Diese Diskrepanz trifft erst recht auf ein Abstraktum wie ‚das Wesentliche‘ zu. Und so ergaben sich bei den Bemühungen, Rennerts Ansinnen zu erfüllen, unerwartete Lösungen. Am Ende ihres Experiments stand ein allemal erfolgreicher Befund, und die Künstlerin konstatierte: „Zwei der Übersetzungen des Wortes ‚das Wesentliche‘ haben eine überraschende Gemeinsamkeit und weisen auf den körperlichen Aspekt des Seins: im Japanischen besteht das Wort – gesprochen als – seizui unteranderem aus einem Zeichen welches ‚Knochen‘ bedeutet und einem Zeichen welches ‚haben‘ bedeutet, also Knochen haben. Im Hebräischen kann das Wort – gesprochen als – ezem in den feminin Plural azamot verändert werden. Die Bedeutung von azamot ist Skelett, Knochen, Überreste.“


Game of Independency, 2010
card board, bulbs, cabel, stuffed dove, variabel dimensions
Installation for Uckermark Festival 2010 at Manor Sternhagen

Cardboard boxes in different sizes, are set up in the former granary of the manor. Through the closed covers light shines. In one corner a dove sits, she is touched by a streak of light. A surprise! Longing for protection or independency? This is not a game.

The Making of Selbdritt, 2008
series of photos, each 50 x 75 cm

In this series of photos I used myself during the process of creation of my sculpture Selbdritt. I placed myself inside the sculpture as the second figure.

The surface of the sculpture is white as well as my body. The figures are placed on a low pedestal like in a workshop. On the pedestal we see my preferred tools: scissors, thread and polyester wool.

In the working situation I united myself with my sculptural group. As a reference to that mix of creator and creation, we see a postcard of a painting by Gerôme. It shows the situation when Pygmalion awakens his female sculpture to life.

Longing for the Present, 2006
metal shelf, candles
Commission for the anniversary of Kunsthaus Erfurt

In a corner of a space a panel made of steel is mounted. On both end are two holes, in which two conic candles are placed from underneath. Above the panel the slim part of the candle is visible.

Only one candle burns. The longer it burns, the closer it gets to the hole. The wax vanishes visibly.

For a short moment only wick and flame exist. Than suddenly the candle falls down. While falling down the flame expires, with a bony sound the candle hits the floor.

The candle is replaced, the candle on the other side set aflame. The procedure is repeated during the time of the show. Under the panel on the floor accumulate the burnt candles.

Rastlose Sucherin

Bei einem Sachverhalt restlos bis auf den Grund vorzustoßen und rastlos hinter ersten Antworten schon die nächsten, noch verborgenen Fragen suchen, diese Vorgehensweise kennzeichnet die künstlerische Praxis von Nadine Rennert, ist der entscheidende Impuls hinter ihrer Arbeit. Um diesem Anspruch Genüge zu leisten, hat Rennert sogar das relativ geschützte Alltagsdasein zwischen Wohnung und Atelier verlassen und sich temporärer Obdachlosigkeit ausgesetzt: Für die Fotoserie „Bellesouspont“ (2005) bestückte sie ihre Kleidung mit 80 Mini- Lämpchen, die grosso modo die Konturen ihres Körpers markierten.

MICHAEL HÜBL, KUENSTLER – Kritisches Lexikon der Gegenwartskunst, 2014

Bellesouspont, 2005
series of photos, 75 x 60 cm

For this project i made a black costume furnished with 80 small lightbulbs. Dressed with the lights I placed myself under bridges in Berlin and had me photographed.

The series of photos shows 13 different positions of me in space. The space under a bridge is protected from the top, but open at the sides where light comes in. In the centre shadow gets more intense and I have chosen this obscured places to lay down.

The small lights follow the contour of my body and shed light. At the Same time associations of star constellations appear and questions for the futures of life.

Ever blossoming Tree, 2003
Commission for Kunst im Fluss, Grein, Austria
artificial flowers, installation on an island in the Danube river

The artificial flowers represent the illusion, that things around us are of permanence. Things that we gave shape or that we created stay. They put the idea of a peak into our mind without growth or decay.

The tree that I found for my installation was driven by a previous flood into the high branches of other trees. Here this is shown as an erroneous belief.

Ever blossoming Tree was created for the sculpture festival Kunst im Fluss, which was initiated by Grein along the Danube river in 2003. It was realized with the participation of a class of a local secondary school.