Alternatively as accomplice, rival, and/or companion of “people on the verge of a crisis,” like those that have an interest in the relationship of an individual to society, he develops images together with them that negotiate questions of identity, social roles, and, thus, his own position as artist.

The structure of his work corresponds to the movement of a pendulum in which he radically shifts himself to the center of the work, while at the same time putting himself at the mercy of the uncertainties of its outcome. He insists that his counterparts open themselves up to his needs just as he confronts the needs of his “actors.”

His work, Frontalunterricht (2009), came into being as part of the Mannheim Schiller Days, for which the artist was supposed to work out a presentation with different groups, including one of about 20 youths. While the work together with the other groups progressed productively, the rehearsals with the young people proved to be extremely problematic. Aminde was unable to get them to see there was anything for them in the given situation so that nothing at all was happening. Only when he put the group on the rehearsal stage and gave them the job of acting in front of rolling cameras did the youths gradually abandon their reluctance. The resulting film is not only a portrait of the difficult relationship between the director and the group but moreover it illustrates a structural aspect in Aminde’s work. In varying constellations, his protagonists enter a relationship with him by making visible and reflecting the need to be seen and recognized.

Solo exhibitions (selection)

Group exhibitions (selection)