Agentur für Minimixhörnchen is an artists' collective consisting for this project of Micha Otto (Berlin), Ute Ringel (Brandenburg), and Andreas Sell (Lesbos). The three artists have collaborated for many years, having first met while studying at the Berlin-Weißensee Academy of Art.

For several years they have met regularly to work together and develop collaborative artistic projects. Although each artist has an individual practice in different media, their collaboration has evolved around collective painting and video projects. As studio space of the required scale is increasingly unaffordable in Berlin, they work wherever suitable spaces can be found: in public space, temporary studios, or during intensive residencies in rural locations. Their practice is guided by three principles: continuity, openness, and voluntary participation. These form the basis of what they describe as social collaboration—a practices in which authorship, communication, and collective action are continuously negotiated.

Micha Otto works across installation, photography, video, and public art, with an international exhibition practice and numerous collaborative projects. 

Ute Ringel is a sculptor and painter whose work spans painting, performance, conceptual and spiritual practice, and artistic collaboration. 

Andreas Sell develops sculptural and installation-based works that investigate social and economic structures through direct interventions into everyday life. 

Körperlose Fotzenstahlrohr-Pietà. The work offers, through a VR headset, a view onto a sexual encounter in the forest—an intimate moment that would normally remain beyond public view. Natural spaces have long served as places of retreat and intimacy: among the trees and beyond the reach of social surveillance, they can become spaces for sexual encounters that remain hidden.

The work makes such a concealed reality visible and superimposes it onto the physical site. Between virtual and augmented reality, different layers of reality overlap: the forest remains present as a physically experienced space, while a second, invisible layer is inscribed into it.

The precise coordinates of the site connect the physical with the virtual. The viewers are actually standing in the forest while simultaneously encountering a situation they would otherwise be unlikely to witness. The natural environment thus becomes a medium of displaced perception—a space in which the visible and the hidden, physical presence and virtual experience, converge.

The work also asks how intimacy changes when what is hidden becomes visible, and when a specific place is expanded through digital reality.

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