Remains emerged from research into women's lives within the medieval Jewish communities of the SchUM cities. Drawing on architectural fragments, inscriptions, memorial markers, and legends, the installation considers the fragmented ways in which lives continue to be remembered and imagined through material traces. Through acts of reduction, historical references become fragments, inviting viewers to remain with what persists and what can no longer be fully known.

Building on Yaakov, Ikvot overlays personal text on a historically layered wall at Kunstverein Nürnberg. Once home to modernist geometry, then Nazi iconography, the wall now bears traces of both. My work partially conceals it, creating a quiet dialogue about memory, visibility, and inherited space.

Based on her four-year-old daughter’s drawings, Ma transforms rapid childhood gestures into intricate, slowed-down renditions. The series examines the mother-child relationship, tracing the balance of intimacy, influence, and distance.

A group of drawings coincidently found in an archive reveals the intergenerational trauma and an attempt to process it. Framing was created to be displayed in Germany, where Nazi symbols are illegal unless used in an educational context. Accordingly, Framing questions the possibilities and limits of education and commemoration.

Based on 17th- and 18th-century men’s indoor head coverings, these objects blur the line between private and public, gender and status. Reframed as still-life subjects, they become ambiguous, almost absurd symbols.

A collage of children’s Holocaust Memorial Day drawings from 1980s Israel. Beneath its playful surface, the curtain reveals how young children process collective trauma through distorted symbols and imagined narratives.

A drawn short story based on 1970s caretakers’ diaries from Kibbutz Hazorea. It reveals the quiet loneliness of both children and night-shift caretakers in communal children’s homes.

An installation on Berlin’s Kurfürstendamm honoring fashion illustrator Lieselotte Friedländer. Laufer redraws her 1920s fashion drawings and repositions them in their original location, tracing both her success and her erasure under the Nazi regime.

An artist’s book reworking Fanny Lewald’s 19th-century autobiography by cutting and rearranging its’ text. The resulting novelette creates a rhythmic, fragmented portrait of a moody 30-year-old woman.

This photo series pays homage to Cindy Sherman’s Untitled Film Stills. Laufer inserts herself into Sherman’s iconic poses, pretending to be Sherman pretending to be an actress, creating a layered play on authenticity, identity, and authorship.