Elymus Repens – A proposal by Lucile Bouvard

25.09.2018 — 25.09.2018

Bar Babette, Berlin

http://www.barbabette.com

Silva Agostini & Sarah Ancelle Schönfeld, Kathrin Sonntag, Benjamin Busch & Lorenzo Sandoval, Alice Corey, Susanne Kriemann, Graham Kelly & Adrien Missika, Saâdane Afif & Lin May Saeed, Emmanuelle Castellan & Maik Schierloh, Marie Reinert & Hagen Schümann, Philip Newcombe

“Elymus Repens” gathers Berlin-based artists who have created off spaces in order to initiate dialogue and give visibility to the works of other artists. It focuses on their works as well as on their roles as curators, initiators, or art activists. The artists have each been solicited to invite another artist, who they have previously shown or want to show.

Reflecting the city’s dynamic art scene as well as a subjective point of view, the selection of spaces and initiatives presented include new and long-established, currently operating off spaces, but also those no longer existing that have played an integral role in the city’s artistic landscape.

All our secrets

19.07.2018 — 23.09.2018

Center for Contemporary Arts, Celje

curated by Katrin Mundt

https://csu.si/en/

Lawrence Abu Hamdan, Apparatus 22, Simon Asencio, Bureau of Inverse Technology, Lenka Đorojević and Matej Stupica, Mario García Torres, Kallabris, Staš Kleindienst, Martin Kohout, Susanne Kriemann, Felipe Mujica, Adrian Paci, Stefan Panhans

Why is it that secrets, and in particular the public performance of secrets, are playing such an important role today for individuals and societies alike? On the one hand, we seem to be driven by a growing desire to exhibit our lives on- and offline, sharing everything from shopping secrets to intimate glimpses of our private selves. On the other hand, our anxieties increase as we become aware of the sheer mass of personal data that is secretly harvested, stored and used on a large scale by states and corporations for purposes we do not know (and often consciously ignore), an insight fuelled by the major and minor information leaks of recent years, making sensitive data widely accessible and throwing global power relations out of balance. This paradoxical situation can also be described in more economic terms: as secrets become more and more difficult to keep, they turn into a scarce commodity whose value we systematically deflate by advertising everything we want people to desire and consume in one way or another, from remote holiday resorts to our own life stories, as “secret/s”.

Landschaft, die sich erinnert

10.06.2018 — 30.09.2018

Canopy, canopy

31.05.2018 — 28.07.2018

CCA Wattis Institute for Contemporary Arts, San Francisco

curated by Kim Nguyen, organised by Leila Grothe

www.wattis.org

We must imagine the other side of the catastrophe. The side in which we can finally see that we did not fall into this time, we fell through it. A descent that is not immediate, explosive, or visible but rather unremarkable and gradual. It is what Rob Nixon refers to as slow violence – an incremental, attritional violence whose devastating repercussions develop out of sight and across a multiplicity of temporal scales and spaces. Achieved through accumulation, slow violence resides in the lengthy, fatigued space after a calamity. The long–term emergency that is ignored in favour of the more visceral spectacles of burning towers, tsunamis, volcanic eruptions, and fallen bodies.

How do we articulate unspectacular time?

This Rare Earth – Stories from Below

14.02.2018 — 01.03.2018

STUK will be taken over by Artefact, an exhibition and festival on the crossroads of contemporary visual arts, current events and societal challenges. Artefact presents contemporary art practices that engage with complex topics, ‘wicked problems’, urgent themes that unite or divide us, in a poetic, critical and experiential way.

This Rare Earth — Stories from Below directs our gaze down to our feet, to the geological materials that lie beneath the earth’s surface. The exhibition and festival gives voice to the stories told by these geological materials, conflict minerals and metals, and rare earth elements. The artworks involved focus on the political, economic and ecological implications of their circulation; from mining, processing, and trading, to use, and recycling. And they reconnect the elements of earth with their cosmic origins: ‘as above, so below’.

With works by Otobong Nkanga (NG), Ilana Halperin (US), Julian Charrière (CH), Justin Bennett (UK), Cecilia Jonsson (SE), Prabhakar Pachpute (IN) & Rupali Patil (IN), Maarten Vanden Eynde (BE), Unknown Fields (AU/UK), Füsun Türetken (TR), Lise Autogena (DK) & Joshua Portway (UK), Susanne Kriemann (DE), Lara Almarcegui (ES), Sissel Marie Tonn (DK), Milo Rau (CH), Ursula Biemann (CH) & Mo Diener (CH), Egill Sæbjörnsson (IS), Kirstie van Noort (NL) & Xandra van der Eijk (NL)

ReFraming Worlds: Gender and Mobility during the Colonial Encounter

02.12.2017 — 21.01.2018

Project group:
Oliver Baurhenn, Dorothee Bienert, Marisa Maza, Antje Weitzel, Jole Wilcke, Moira Zoitl

Opening: December 1st, 2017, 7 pm

nGbK, Oranienstraße 25, 10999 Berlin

www.ngbk.de

The exhibition project examines the relationship between gender and mobility during the heyday of European colonialism from a decidedly postcolonial and feminist point of view. The focus is on the role of female explorers, often side-lined in the history of science, and the various subject positions connected with it: Male explorer, female explorer, ‘people explored’. The aim of the project is not only to shed light on the role of female explorers beyond the nostalgic-romantic glorification of individual heroines and to reveal the voids of historiography, but also to question the type of knowledge that was produced and disseminated in Europe in the context of these colonial endeavours.

With works by Akinbode Akinbiyi, Maria Thereza Alves, Hasan Aksaygın & Aykan Safoğlu, Nathalie Anguezomo Mba Bikoro & Anaïs Héraud-Louisadat, Pauline Boudry & Renate Lorenz, Antye Greie aka AGF, Rajkamal Kahlon, Susanne Kriemann, Marisa Maza, Judith Raum, Mathilde ter Heijne, Katrin Winkler, Moira Zoitl

Gessenwiese, Kanigsberg

18.11.2017 — 21.01.2018

Wilfried Lentz Rotterdam

Friday – Sunday 1 – 6 pm and by appointment

Justus van Effenstraat 130, 3027 TM Rotterdam

www.wilfriedlentz.com

Kriemann shows a series of unique Héliogravures portraying plants and herbs that grow at former uranium mines in the eastern part of Germany.

Gessenwiese and Kanigsberg are former uranium mining territories in the GDR (1949–1990). Kriemann undertook field research with geologists and biologists from the Friedrich Schiller University of Jena who study the accumulatation of heavy metals in plants during the re-naturalisation processes in the area. She identified the three herbs most capable of extracting and storing their environmental pollutants: Falsche Kamille, Wilde Möhre, and Bitterkraut (False Chamomile, Wild Carrot, Ox Tongue). Concerned with the invisibility of radioactivity, Kriemann photographed these three types of herbs and harvested the plant material afterwards in order to make pigments for the production of Héliogravures.

Héliogravure is the oldest procedure for reproducing photographic images. It was first invented in the early 19th century by Joseph Nicéphore Niépce and was later perfected by William Henry Fox Talbot. This gravure printing is an elaborate process which enables subtle changes in the gradation of colour. The enigma of the prints is enhanced by tinting the printing plates with pigments containing uranium and other heavy metals from the plants and herbs depicted in the images.

Box with the Sound of Its Own Making

08.11.2017 — 28.01.2018

curated by Mihnea Mircan

Salonul de proiecte
Universul Printing House, Building B, 1st Floor
Ion Brezoianu 23 – 25, Bucharest, Romania

Thursday – Sunday / 3 – 7 pm
www.salonuldeproiecte.ro

This presentation borrows both its title and modus operandi from a 1961 sculpture by Robert Morris. Something of a ventriloquist object, Morris’ Box with the Sound of Its Own Making is a modest wooden box, inside which a tape player continuously reproduces the sounds of its fabrication: a 3-hour process of sawing, drilling and nailing.

The project includes photographic works by Geert Goiris, a tapestry by Susanne Kriemann, and documentation of performances by Fabio Mauri and Phillip Warnell, which could be understood as interchangeable ‘posters’ for the ‘film’ whose sound emanates from the exhibition. Mauri and Warnell, for instance, articulate expanded or compressed cinemas where the screen for the projection of a film is placed on the torso of the director in one case, or directly on the retina of the performer. In both cases, screens function not as neutral surfaces but as fragments of conjunctive tissue, mediators in other proximities than those of conventional cinema, embodied receptors whose folds, irregularities and patches of obscurity inflect the viewing experience as much as filmic narrative.

Works by Geert Goiris, Susanne Kriemann, Fabio Mauri, Philip Metten, Phillip Warnell
Lecture-performances by Sarah Browne, Erik Bünger, Ho Rui An
Films by Lawrence Abu Hamdan, Sarah Browne, Erik Bünger, Pauline Curnier Jardin, Josef Dabernig, Simon Dybbroe Møller, Fabien Giraud & Raphaël Siboni, Anja Kirschner & David Panos, Daria Martin, Laure Prouvost, Anri Sala, Daniel Steegmann Mangrané, Phillip Warnell, Bedwyr Williams, John Williamson

298 111

04.08.2017

Exhibition in the streets of the city of Katowice

curated by Sebastian Cichocki
coordinated by Urszula Mikoś

Katowice, Poland

The exhibition 298 111 is the pilot project of the OFF Museum program, which will be conducted by the Muzeum Śląskie in collaboration with the OFF Festival between 2018 and 2020 in Katowice.

The frames of 298 111 are blurred, but we can assume that they are synonymous with the administrative borders of the city. It comprises announcements in B2 format distributed throughout the urban landscape. These posters may be a tool for mobilisation or persuasion, though it’s not entirely impossible that we will use them as carriers of abstract, standalone images. But can an image which is viewed in the public sphere remain abstract? Not everyone sees the same things, and a painting need not be a murder mystery.

In our stormy times, we are not in a hurry to find an answer, trying to understand the possibilities offered by our ignorance.

Will we recognise art when we see it, will we want to make use of it? We begin by leaving the museum behind and by stifling two essential elements which allow us to isolate art from the surrounding “non-artistic” background noise: a clearly assigned authorship, and the work’s uniqueness.

We focus on the ABCs of museums. From A to B. From B to C. And from C to A, the long way round, via Z.

The exhibition will last as long as possible. Until the material runs out and fades away.

Artists: Hila Amram, Kathrin Böhm, Karolina Brzuzan, Bureau d’Études, Yane Calovski, Aslı Çavuşoğlu, Banu Cennetoğlu feat. Krytyka Polityczna, Center for Tactical Magic, Desire Machine Collective, Shannon Ebner, Annika Eriksson, Paweł Freisler, Futurefarmers, Deniz Gül, Michal Heiman, Institute for New Feeling, Hristina Ivanoska, Łukasz Jastrubczak, Elka Krajewska, Omer Krieger, Susanne Kriemann, Wojciech Kucharczyk, Marget Long, Susan MacWilliam, Martyna Miller, Mikołaj Moskal, Agnieszka Polska, Katarzyna Przezwańska, Bianka Rolando, RSS B0YS, Rafał Milach, Jonas Staal, Ayesha Sultana, Temporary Services / Half Letter Press & Kione Kochi, Andrzej Tobis, Mario García Torres, Unite Against Dividers

https://muzeumslaskie.pl/de/

Spiegelnde Fenster – Reflexionen von Welt und Selbst

22.06.2017 — 14.01.2018

curated by Severin Dünser and Luisa Ziaja

21er Haus, Quartier Belvedere, Arsenalstraße 1, 1030 Wien

www.21erhaus.at

Fenster sind Öffnungen, die von innen den Blick auf das Außen einrahmen, während wir uns von draußen in ihnen spiegeln. Dieser Sicht auf das Innere, das Äußere und deren Wechselwirkungen geht die Ausstellung nach.

Spiegelnde Fenster zeigt rund sechzig zeitgenössische Werke und einzelne historische Exponate aus der Sammlung des Belvedere, die allesamt um Erfahrungen von Selbst und Welt kreisen. Die Arbeiten handeln von Utopien und Krisen, dem Grauen des Alltäglichen, Phänomenen des Spirituellen, der Politisierung des Körpers ebenso wie von Soziophysik und Psychonautik, von surrealen Welten und individuellen Mythologien. Im Sinne der Bedeutung von Kunst als Fenster zur Welt wirft die Ausstellung einen Blick auf das Spannungsfeld zwischen Individuum und Gesellschaft und reflektiert zugleich Auswirkungen auf Körper und Geist.

Marc Adrian, Martin Arnold, Vittorio Brodmann, Georg Chaimowicz, Adriana Czernin, Josef Dabernig, Gunter Damisch, VALIE EXPORT, Judith Fegerl, Michael Franz / Nadim Vardag, Padhi Frieberger, Bernhard Frue, Walter Gamerith, Bruno Gironcoli, Samara Golden, Judith Hopf, Alfred Hrdlicka, Iman Issa, Martha Jungwirth, Jesper Just, Tillman Kaiser, Johanna Kandl, Joseph Kosuth, Susanne Kriemann, Friedl Kubelka/Peter Weibel, Luiza Margan, Till Megerle, Henri Michaux, Muntean Rosenblum, Walter Pichler, Tobias Pils, Arnulf Rainer, Ugo Rondinone, Isa Rosenberger, Gerhard Rühm, Markus Schinwald, Toni Schmale, Anne Schneider, Richard Teschner, Simon Wachsmuth, Rudolf Wacker, Anna Witt

Dyeing until the water runs clean

14.06.2017 — 27.10.2017

curated by Martin Schwander

Kunstforum Baloise , Aeschengraben 21, CH-4002 Basel

Open by appointment: isabelle.guggenheim@baloise.com / Tel. +41 58 285 74 71

The scientific approach, which Susanne Kriemann has followed in Dyeing till the water runs clean led her to the region around Schlema (Erzgebirge). In this area, in the GDR from 1946 to 1991, the highly radioactive mineral pitchblende (uraninite) was mined and thus contributed significantly to the nuclear rearmament of the USSR.

In a large-scale renaturation program the restoration of the landscape is planned to be finished by 2045.
Starting from the phenomenon of the invisibility of radioactivity, Kriemann photographed herbs and flowers growing on this site and thereby documents a section of the landscape at a specific point in time of their renaturation process. These photographs form the basis for the heliogravures, a photographic printing process that has been popular in the late 19th century. The elaborate gravure allows a very fine gradation of color values and is a unique combination of craft printing technology and photographic reproduction process. Kriemann increases the ambivalence of the images, by inking the printing plates with the uran-containing pigments of the depicted herbs and plants.

Tito‘s Bunker

27.05.2017 — 06.08.2017

Taysir Batniji, Bernd Behr, David Brognon / Stéphanie Rollin, Annalisa Cannito, Olga Chernysheva, Edith Dekyndt, Jan Peter Hammer, James T. Hong, Hilary Koob-Sassen, Milomir Kovacevic, Susanne Kriemann, Dorit Margreiter, Eduardo Paolozzi, Vesna Pavlovic, Dan Perjovschi, Lia Perjovschi, Jorge Ribalta, Alexander Sokurow, Sandra Vitaljic, Jan-Peter E.R. Sonntag

curated by: Iris Dressler, Hans D. Christ

Opening: Friday, May 26, 7 pm

Guided tour on Saturday, May 27, 2 pm

http://www.wkv-stuttgart.de

A joint venture of Württembergischer Kunstverein and Association Biennial of Contemporary Art Sarajevo, Bosnia-Herzegovina.

In 1953 the former head of state of Yugoslavia, Josip Broz Tito, initiated the construction of a – theoretically – nuclear-safe bunker in Konjic, a town, which is situated around 40 km south from Sarajevo (and today located in Bosnia-Herzegovina). It took 26 years to accomplish this giant bunker, which was built under conditions of utmost secrecy in the midst of a mountain and at a depth of 280 meters. This shelter, occupying a space of 6,500 square meters, was conceived for the survival of 350 chosen representatives of the political and military “elite” of that time – among them only one single woman: Jovanka B. Broz, the wife of Tito. The lager public beyond Konjic came to know about Tito’s bunker not before the 1990ies. In 2011 the artists Edo and Sandra Hozic launched a biennial, whose aim is to establish a museum of contemporary art at the site of the bunker.
Hans D. Christ and Iris Dressler had been invited to curate the 4th edition of the biennial. Their idea is to develop a project about Tito’ bunker for two venues: the bunker and the Württembergischer Kunstverein. Of interest here is to deal with the bunker and its complex history, present and future both, in the very heart of the place itself and from a distance – a remote place, where the exhibition will be shaped by the absence of the bunker (becoming itself a sort of phantom). Two different blind spots are inherent in this approach: one related to the condition of being too close and the other of being too remote from the object of reflection.

Spurensicherung

29.04.2017 — 17.06.2017

Giorgio Andreotta Calò, Rossella Biscotti, Marc de Blieck, Kevin van Braak, Henry Fox Talbot,
Patricia Kaersenhout, Susanne Kriemann, Matts Leiderstam, Albrecht Meydenbauer, Secondo Pia, Aimée Zito Lema

http://www.wilfriedlentz.com/

Opening: Saturday, April 29,  5 – 7 pm

The group show will be held under the moniker Spurensicherung, a German
forensics term that means literally “to secure traces”. The title is drawn from an
exhibition in 1974 at the Hamburger Kunstverein, curated by the art historian Günter
Metken (1928, Germany – 2000, Libya), which included some of the most interesting
artists from the early Seventies.
The curatorial and artistic discourses remain fascinated by historical traces. Today many
artists use methods similar to that of archaeologists and forensic researchers, and
curators are making shows where these works are prominent—a trend that has been
going on for at least fifteen years. Yet ironically, the 1974 Spurensicherung exhibition
and the eponymous accompanying catalogue seem to have been totally forgotten.
For the summer months we are presenting a group show that borrows this exhibition
title as a tribute to Metken. Rather than providing a broad historical overview, the show
takes a playful and intuitive approach, with works by contemporary artists who share
similar interests. We also introduce historical photography from 19th century pioneers,
which was instrumental in providing evidence, and put this in dialogue with
contemporary works.
Why are artists continually interested in historical traces? The 1974 catalogue reveals
that artists had doubts about technical progress and the use of mass media, and in
general were anxious about a cultural amnesia in society. These artists responded with
introspection and started gathering relics, historical documents, and everyday artefacts.
Appropriating these often vernacular objects in their work, they created new artistic
experiences that trigger our personal and collective memories.
In the main gallery space we will be showing found and constructed artefacts by Doug
Ashford, Rossella Biscotti, Kevin van Braak, Sara Se Jin Chang (Sara van der Heide),
Patricia Kaersenhout, Jean Katambayi Mukendi, Matts Leiderstam and Aimée Zito
Lema. On our 4th floor space we will present rare and esoteric uses of photography and
printing techniques by Giorgio Andreotta Calò, Marc de Blieck, Henry Fox Talbot,
Susanne Kriemann, Matts Leiderstam, Albrecht Meydenbauer, Secondo Pia, Hans de
Vries and Aimée Zito Lema.

Slideshow

29.04.2017 — 11.06.2017

Sirah Foighel Brutmann & Eitan Efrat, Susanne Kriemann, Yutaka Sone

curated by Fabian Schöneich

http://www.portikus.de/

Why Not Ask Again

11.11.2016 — 12.03.2017

The 11th Shanghai Biennale
Why Not Ask Again? Arguments, Counter-arguments and Stories

curators: Raqs Media Collective

Power Station of Art, 200 Huayuangang Road, Huangpu District, Shanghai

powerstationofart.com

Artists: Agan Harahap, Aki Sasamoto, Anawana Haloba, Ayesha Jatoi, Ayodamola Tanimowo Okunseinde& Salome Asega, Azadeh Akhlaghi, Bahar Behbahani, Bianca Baldi, Cell Art Group, Chen Zhe, Christian Thompson, Christine Sun Kim, Desire Machine Collective, Etel Adnan, Fabrice Monteiro, Farzana Ahmed Urmi, Forensic Oceanography, Gagandeep Singh, Georges Adéagbo, Graham Harwood/YoHa, Ha Bik Chuen, HaoJingban, Heidi Voet, Hu Xiangqian, IstvánZsíros, Jagdeep Raina, Jefferson Pinder, John Gerrard, Karl Max, Kendell Geers, Khaled Barakeh, LantianXie, Lee Mingwei, Lena Zubtsova, Liao Fei, CANTONBON, Lin Ke, Phuong Linh Nguyen, Lisa Tan, Liu Wei, Liu Yujia, Lu Pingyuan, Ma Haijiao, Mao Chenyu, Marina Androsovich, Matts Leiderstam, Moinak Biswas, Müge Yilmaz, Nabuqi, Navjot Altaf, Nicholas Wells, Nikolaus Hirsch/Michel Müller, Olivier de Sagazan, Olu Oguibe, Patty Chang, Peter Piller, Rabin Mondal, Radical Space, Rafiqul Shuvo, Rheim Alkadhi, Robin Meier, Ross Manning, Sammy Baloji, Sener Özmen, Simone Fattal, Sofya Staune, Sohrab Hura, Sun Yuan & Peng Yu, SUPERFLEX, Surabhi Sharma &Tejaswini Niranjana, Susanne Kriemann, Takashi Arai, Tao Hui, Taus Makhacheva, Theo Eshetu, Tomás Saraceno, Verina Gfader, Vinu V.V., Vishal K. Dar, Wang Gongxin, Wang Haichuan, Yang Zhenzhong, Yazan Khalili, Yin Yi, Yu Ji, Zheng Bo, Zheng Chongbin, Zhou Zixi.

The 11th edition of the Shanghai event emphasizes the possibilities of South-South dialogue within the current scenario of a highly interconnected world. In doing so, it seeks to present artistic and discursive visions that go beyond and challenge the conventional division of the world between ‘East’ and ‘West’. Raqs Media Collective, who straddle diverse roles in creative and curatorial work and research processes, envisage the biennale to be a destination for many different kinds of exploration and investigation as well as a launching pad for new visions and ideas.

“Why not ask again? Why not begin at the beginning, or the end, or the middle of a question, or a desire (because the task of ‘asking’ can stand both for the posing of a question as well as for the awakening of a desire)?”

This phrase, inspired by Raqs Media Collective’s reading of the Indian New Cinema movement pioneer RitwikGhatak’s film Jukti, Takko Ar Gappo (Maneuvers, Disputations and Stories) [1974] anchors the curatorial design of the forthcoming Shanghai Biennale. Towards the end of Ghatak’s film, the protagonist, an alcoholic intellectual, falls in with a band of fugitive peasant and student rebels.

Wilde Möhre, Falsche Kamille, Bitterkraut

14.10.2016 — 18.11.2016

Pfingstweidstrasse 23 / Welti-Furrer Areal, 8005 Zürich
Opening reception: Friday, October 14, 6 – 9 pm

Susanne Kriemann returns for her third solo exhibition at RaebervonStenglin. Working with photography via a process of intense investigation, the German artist mines the particular for deeper symbolic resonance. Her projects fuse the photographic with the physical, image with object, and extraction with belonging, creating artworks invested with stories that explore the nature of their medium.

The exhibition takes its title from a new work shown in the main gallery space. Falsche Kamille, Wilde Möhre, Bitterkraut (False Chamomile, Wild Carrot, Ox Tongue) refers to three types of weed that the artist found on ‘Gessenweise’ in the former uranium mining territories of SDAG Wismut in former GDR. Today, the area is so rich in toxic metals that it is believed to have been polluted for more than 100,000 years. Spending a day with the specialist geologists and biologists of the Friedrich Schiller University of Jena who study the accommodation of heavy metals of plants in the area, Kriemann identified and harvested the three weeds most capable of extracting and storing their environmental pollutants. The substantial traces of metals found in the plants — aluminium, chromium, copper, lead, manganese, nickel, uranium, ytterbium, zinc and others — are also important raw materials in the manufacture of smart phones: photosynthesis, in these plants, fixes the same chemicals that are now used by millions of us to fix light as photographic images.
Working back in her studio, the artist dried a volume of these harvested plants into a bouquet and photographed these with her phone. The resultant images — taken in the dark and reflecting the flash of her phone’s camera — compress drastically different concepts of time: the thousands of years it takes to recover polluted land; the life of a plant; and the instantaneous flash in the darkroom. Kriemann labelled the resultant prints with the plants’ metallurgic information using ink she had made from their pulp. Each image completes a circle between subject and material, maker and tool, between drawing with artificial light and mining. A second work will be on display in the back room of the gallery. Duskdust (2016) takes the form of a series of monographic silkscreen prints of what appears to be a mountain seen both at dawn and at dusk, rising sublimely in the centre of the image. In fact, the images depict a vast pile of rubble: a heap of limestone, extracted from the ground with the purpose of becoming cement, yet left indefinitely after the closure of a mining company — now no longer a mountain, nor yet a building. With this work, Kriemann documents a post-industrial landscape, whose sole meaning seems to be to serve as a reminder to rethink the concept of time and memory. The monographs, shown at RaebervonStenglin, were printed onto rock paper with ground dust that has been made using these limestone boulders. The ‘mountain’ they depict is both materially present in the final images and eroded through the process of their manufacture.

Susanne Kriemann was born in Erlangen, Germany, in 1972. She studied at the Staatlichen Akademie der Bilden Künste, Stuttgart, in 1997 where she was taught, among others, by Joseph Kosuth and Joan Jonas; and the Ecole Nationale Superieure des Beaux Arts, Paris. Significant solo museum exhibitions include at Ernst Schering Foundation Berlin; Prefix ICA Toronto; Galerie im Körnerpark, Berlin (all 2016); 21er Haus, Vienna (2013); Arnolfini, Bristol (2013); Kunstverein Braunschweig, Braunschweig (2012); Fotomuseum Winterthur, Winterthur (2011); and the Berlinische Galerie, Berlin (2010). Her previous exhibitions at RaebervonStenglin were ‘Het Licht’ (2014) and ‘Ashes and broken brickwork of a logical theory’ (2010). Kriemann is the co-founder of AIR Berlin Alexanderplatz and advisor at the Jan Van Eyck Academie in Maastricht. She lives and works in Berlin.

On view in the showroom:
Works by the artist Saâdane Afif (*1970).

The Society Machine

24.09.2016 — 15.01.2017

The Industrial Age from the Perspective of Art

curated by Lisa Rosendahl

Malmö Konstmuseum, Malmöhusvägen 6, Malmö, SE

In the Belly of the Whale

09.09.2016 — 31.12.2016

curated by Natasha Hoare and Adam Kleinman

www.wdw.nl

Hamza Halloubi, Charles Thomas Rees Wilson, Pratchaya Phinthong, Susanne Kriemann, Mariana Castillo Deball, Jean Martin Charcot, Broomberg & Chanarin, Jeremy Shaw, Tania Bruguera, Käthe Kollwitz, Britta Marakatt Labba, Advancing American Art (1946-47), Paul Ekman

ich bin, varım, je suis, Abendrot

10.09.2016 — 30.10.2016

Susanne Kriemann arbeitet in ihrem neuen Projekt für die Galerie im Körnerpark konzeptuell mit Licht, jener Energie, die dem Leben durch den Rhythmus von Tag und Nacht eine zeitliche Struktur gibt.
Susanne Kriemann versammelt für die Ausstellung Objekte zwischen Urzeit und Zukunft, die in direkter Verbindung zum Körnerpark stehen. Highlight ist jener Mammutknochen aus der Eiszeit, der um 1900 in Franz Körners Kiesgrube gefunden wurde. Durch ihre Zusammenstellung sind die Objekte ihrem jeweiligen Zeitkontinuum enthoben und werden zu individuellen Organismen, welche die Besucher mit Hilfe einer per Hand zu kurbelnden Lampe selber beleuchten.
Ich bin, varim, je suis Abendrot ist partizipativ und prozesshaft angelegt. Im Dialog mit den Exponaten der Ausstellung werden in Workshops Ideen für eine zukunftsweisende und visuell anspruchsvolle Beleuchtung des Körnerparks entwickelt. Gemeinsam wird über Nachhaltigkeit, Eigenverantwortung und innovative Wege der Lichterzeugung nachgedacht. Zum Ende der Ausstellung, in der Nacht der Zeitumstellung vom 29. auf den 30. Oktober, werden die Forschungsergebnisse präsentiert und die Abenddämmerung bis zur Morgenröte ausgedehnt.
Kuratiert von Dorothee Bienert
In Kooperation mit der Architektin Oxana Gourinovitch und der Kunstvermittlerin Zara Morris

Im Rahmen des EMOP Berlin – European Month of Photography 2016

Das Projekt wird unterstützt von der Senatskanzlei – Kulturelle Angelegenheiten und durch die Innogy Stiftung für Energie und Gesellschaft gefördert.

Begleitprogramm

Samstag/Sonntag, 15./16./22./23. Oktober, jeweils 10.30 – 13 Uhr
Workshops: LED-Throwies für ein buntes Lichtermeer
Im Rahmen des KinderKulturMonats leitet Birgit Auf der Lauer
Kinder (8–12 Jahre) zu Lichtstudien mit Wachsmalstiften an und bastelt im Anschluss mit ihnen bunte LED-Throwies.
Anmeldung unter: www.kinderkulturmonat.de, 030/5163 4859

Samstag/Sonntag, 29./30. Oktober 2016, 19–03 Uhr
Lichtfest: Ich bin, varım, je suis Abendrot
Zum Abschluss der Ausstellung findet in der Nacht der Zeitumstellung ein Lichtfest statt, bei dem sich eine experimentelle, lokale Abenddämmerung bis zur Morgenröte ausdehnen wird.
Das Fest wird in Kooperation mit Werkstadt Kulturverein Berlin e.V. organisiert.

Beton

25.06.2016 — 16.10.2016

The Language of Things

10.06.2016 — 22.01.2017

http://www.21erhaus.at

Matter, material and materiality have acted both as points of departure and subjects of artistic production since the 1960s. While for example Minimal Art focused on the specific characteristics of the used material, today’s phenomena of digitization bring about a new tension between materiality and immateriality that is reflected in contemporary art practices. With works from the contemporary art collection and the Federal Art Archives this show highlights the thingness of the exhibited objects in order to read between the lines of material languages.

With works by Franz AMANN, Carl ANDRE, John M ARMLEDER, Richard ARTSCHWAGER, Josef BAUER, Thomas BAUMANN, Julien BISMUTH, Andy BOOT, Herbert BRANDL, Gilbert BRETTERBAUER, Cäcilia BROWN/Wilhelm KLOTZEK, Andy COOLQUITT, Andreas DUSCHA, Judith FEGERL, Robert FILLIOU, Dan FLAVIN, Andreas FOGARASI, Kerstin VON GABAIN, GELATIN, Julian GÖTHE, Manuel GORKIEWICZ, Franz GRAF, Eva GRUBINGER, Michael GUMHOLD, Robert F. HAMMERSTIEL, Gregor HILDEBRANDT, Benjamin HIRTE, Anna JERMOLAEWA, Donald JUDD, Barbara KAPUSTA, Jakob Lena KNEBL, Roland KOLLNITZ, Brigitte KOWANZ, Susanne KRIEMANN, Sonia LEIMER, Anita LEISZ, Inés LOMBARDI, Constantin LUSER, Dorit MARGREITER, Ralo MAYER, Adam McEWEN, Robert MORRIS, Marlie MUL, Ulrike MÜLLER, Walter OBHOLZER, Lisa OPPENHEIM, Rudolf POLANSZKY, Rosa RENDL, Gerhard RICHTER, Valentin RUHRY, Fred SANDBACK, Stefan SANDNER, Stefanie SEIBOLD, Tony SMITH, Daniel SPOERRI, Lucie STAHL, Rudolf STINGEL, Zin TAYLOR, Sofie THORSEN, Christoph WEBER, Lois WEINBERGER, Franz WEST, Erwin WURM, Heimo ZOBERNIG, Franz VON ZÜLOW

VI x VI Positionen zur Zukunft der Fotografie

25.05.2016 — 21.08.2016

www.landesmuseum.at

with Peggy Buth, Charlotte Dualé, Harun Farocki, Abrie Fourie, Anne Hardy, Inga Kerber, Philipp König, Susanne Kriemann, Michael Part, Josephine Pryde, Clunie Reid, Max Schaffer, Dirk Stewen, Una Szeemann u. Bohdan Stehlik, Toilet Paper Magazine, Tris Vonna-Michell, Lidwien van de Ven

The Kunstverein in Hamburg raises six questions about the future of photography, which focus on the relevance of this medium within contemporary visual discourses. To think about the actuality and future of photography means to understand it as a subjunctive, in which within the framework of the exhibition and publication various artistic practices are discussed. Different generations of artists explore the photographic and its manifestations. In six exhibition chapters these processes are shown: the chapters are intended to provide spaces of potentiality to check and reformulate one’s own thoughts about photography.

Curated by Bettina Steinbrügge and Amelie Zadeh.

Exhibition architecture by Studio Miessen.

The exhibition takes place in cooperation with the Landesgalerie Linz.

It is supported by the Ministry of Culture of the Free and Hanseatic City of Hamburg, the Hamburgische Kulturstiftung, the Pro Helvetia, Swiss Arts Council, the British Council and the Bureau des arts plastiques of the Institut français and the French Ministère de la Culture et de la Communication.

The exhibition is accompanied by a publication.

Pechblende (Chapter 1)

18.03.2016 — 05.06.2016

Opening Hours: Thursday through Monday, 1–7 p.m.

Ernst Schering Foundation

Unter den Linden 32–34 | 10117 Berlin

The Ernst Schering Foundation is pleased to present the new work Pechblende (Chapter 1) by Susanne Kriemann. Centered on the mineral pitchblende (uraninite), the exhibition of the Berlin-based artist narrates the history of scientific and photographic processes through the interconnected sites of laboratory, archive, museum, and mine.

The highly radioactive and uranium-rich pitchblende was extensively mined in the Ore Mountains of the former German Democratic Republic between 1946 and 1989, which made the GDR the third largest uranium producer in the world and helped facilitate the nuclear armament of the USSR. The restoration of the landscape, which began after the fall of the Berlin Wall, is expected to be finished by 2045. The continuing radiation is increasingly forgotten.

Concerned with both the literal and the political invisibility of radioactivity, Susanne Kriemann, for several years, conducted research at the American Museum of Natural History (New York), the National Archives (Washington, DC), the Museum of Natural History (Berlin), and the Museum Uranbergbau (Bad Schlema).

In Pechblende (Chapter 1), Susanne Kriemann reflects on the artistic possibilities of making the invisible visible. She employs both analog photographic methods and auto-radiography – a technique in which light-sensitive material is directly exposed to radioactive objects. Combining her auto-radiographs with archival material and museum objects, the artist literally illuminates the radiation that is capable of remaining invisible despite the light it emits. As library for a radioactive afterlife, the
exhibition at Ernst Schering Foundation is also chapter 1 of the virtual library www.pechblende.org, which makes available to the public a steadily growing collection of textual and visual material.

In parallel with this exhibition, the prologue to Susanne Kriemann’s work can be viewed at Prefix Institute of Contemporary Art, Toronto, until March 26, 2016. In Pechblende (Prologue), the artist combines her own auto-radiographs and photograms with archival images drawn from various sources, including aerial and scientific photographs that demonstrate how animal, plant and human life is contaminated by radiation.

Pechblende (prologue)

04.02.2016 — 26.03.2016

Prefix Institute of Contemporary Art is pleased to present Pechblende (prologue), a solo exhibition featuring a new body of work by German artist Susanne Kriemann, curated by Jayne Wilkinson. Bringing together an assemblage of archival materials, photo documents, literature and found objects, the exhibition investigates concepts of scale, proximity and distance in relation to radioactivity and the body.
Centred on the mineral pechblende (the German word for a type of uraninite), Kriemann’s project traces a history of scientific and photographic processes narrated through the interconnected sites of laboratory, archive, museum and mine. Highly radioactive and uranium rich, pechblende was relentlessly mined in the Ore Mountains of the former German Democratic Republic between 1946 and 1989, ultimately facilitating nuclear armament in the USSR. Despite the toxicity of the mines, and the documented health threats to the miners who worked there, the landscape of the Ore Mountains has now been transformed into a tranquil mountain vista, with few recognizable traces of the still-radiating industrial worksites.

Concerned with both the literal and the political invisibility of radioactivity, Kriemann worked with scientists at the American Museum of Natural History (New York), the National Archives (Washington) and the Museum of Natural History (Berlin) to produce various versions of an “autoradiograph”–a unique type of photograph that is the result of directly exposing light-sensitive paper to the pechblende specimens. This cameraless exposure results in an indexical but highly abstract image, one that is haunted by impressions of the iconic nuclear mushroom cloud and its blinding light. Reading the exhibition elements together, one might consider this assemblage a nuclear prologue, one that offers a way to read pechblende, and its constellations of emanating rays, as an archive of the future.
Pechblende (prologue) is the first of two related exhibitions, with the second exhibition, Susanne Kriemann: Pechblende: a library for radioactive afterlife (chapter 1), to be presented at the Schering Stiftung (Berlin) from March 18 to June 5, 2016. An opening reception will be held Thursday, March 17 from 7 to 9 PM. For more details, please visit www.scheringstiftung.de.

Prefix Institute of Contemporary Art

Prefix ICA on facebook

401 Richmond Street West, Suite 124
Toronto, Canada
T: 416-591-0357
E: info@prefix.ca

Rocks, Stones, and Dust

28.10.2015 — 18.12.2015

University of Toronto Art Centre

Curated By John G. Hampton

Web catalague: www.rocksstonesdust.com

Featuring Michael Belmore, Bonnie Devine, Jimmie Durham, FASTWÜRMS, Jason de Haan, Spring Hurlbut, Kelly Jazvac, Susanne Kriemann, Lindsay Lawson, Nicholas Mangan, Marcelo Moscheta, Kerri Reid, Egill Sæbjörnsson, Lucy Tasseor Tutsweetok, and Lawrence Weiner.

Rocks, Stones, and Dust is an exhibition devoted to rocks and their relations. It surveys diverse speculations on the roles that rocks play in the development of human culture and how they exist to and for themselves. Rocks are everywhere—they are in our tools, architecture, philosophy, theology, beneath our feet, and flying far above our heads—but this ubiquity sometimes masks their ontological significance. Rocks are prototypically non-human and characteristic of the least animated objects in our world, yet stones are born, they move, age, breed, and return to dust. Some ask us to pick them up off the side of the road and carry them with us, and others invite us to stare into their surfaces to look for inner truths. In their omnipresence, rocks can go unnoticed, but within object-oriented philosophies, aboriginal epistemologies, panpsychism, and countless other systems of knowledge, rocks are recurring characters that show us how even in what seems to be the least mobile of things, we can find life. The works brought together in Rocks, Stones, and Dust address this vitality and unearth the role rocks play in helping us understand questions of beingness outside of human being.

This exhibition is supported by The Ontario Arts Council, Manulife Financial, The Jackman Humanities Institute, and The Goethe-Institut.

Nadezhda / Hope. Russian Industrial Cities Artistically Explored

22.09.2015 — 31.10.2015

curated by Nicolaus Schafhausen, Simon Mraz

Co-curators: Marie Egger, Alisa Prudnikova, Anastasia Shavlokhova, Astrid Wege

Manufacture of Trekhgorka, Rochdelskaya Str. 15 building 24, third courtyard, Moscow, RU

Official side project of Moscow Biennale 2015

Artists: Iwan Baan (NL), Fabian Bechtle (D), Cäcilia Brown (A), Elena Chernychova (RUS), Leon Eisermann (D), Lukas Feigelfeld (A), Andreas Fogorasi (A), La Toya Ruby Frazier (US), Tue Greenfort (DK), Leon Kahane (D), Dimitry Kawarga (RUS), Anfim Khanikov (RUS), Ira Korina (RUS), Susanne Kriemann (D), Sonia Leimer (A), MishMash (RUS), Igor Mukhin (RUS), Yuri Palmin (RUS), Hanna Putz (A), Sergey Saposhnikov (RUS), Nikita Shokov (RUS), David Ter-Organian (RUS), Vera Undritsova (RUS), Where the Dogs Run (RUS)

Susanne Kriemann is presented with a new work entitled RUDA, a tapestry (170 x 300 cm) designed by Yu-Yeon Cho and produced at the Textile Museum in Tillburg, NL, with the financial support of the Goethe House Moscow.

Executed for NADEZHDA, an official side project of the Moscow Biennial RUDA is a mohair woven tapestry – a sketch for a future relief for Magnitogorsk on the Ural River in Russia. Magnitogorsk means the city by the magnetic mountain. The city was a part of Stalin’s 1^st five-year plan to outdo his Western counterparts in the iron and steel industry. The tapestry depicts multiple fragmented images from the early 20^th century as a projection onto the mountainous landscape. Soft greys and blacks made of multiple strands of coloured threads give structure and texture but never a clear image of the once existing mountain depleted of its natural mineral. One can make out the Russian word ruda meaning iron ore. The relief-like lettering recalls the infamous l-o-v-e (1966) by Robert Indiana, which is as large as the tapestry itself. On closer inspection an iron miner from the mosaic Metallurgov in Magnitogorsk appears as do miners at work. Rocky scenery collides with the High Renaissance landscape of Raphael’s Alba Madonna (1510) from an aerial perspective. Known as the “Madonna of Humility” due to her positioning seated on the ground, Alba Madonna was once a part of the Hermitage’s art collection in St. Petersburg. Stalin sold the devotional painting for 1,7 million to Andrew W. Mellon.[1] The steel mills were modelled after the US steel company plant in Gary, Indiana and built by Arthur McKee & Co.. The operating mining steel town producing 13 million tons of crude steel and 12,2 million tons of commercial steel products yearly[2] is an ecological disaster zone. Kriemann’s tapestry hangs dividing the space in former textile manufacture of Trekhgorka, Moscow.. The loose threads at each end allow for both a continuation and an unfinished state. It is a sketch dedicated to the vanished magnetic mountain. Which location is most appropriate for the future relief – on the facade of the hospital next to the steel plant or onto the hovering cloud of carbon smoke?

[1] It was the most expensive sold painting in the early 1930’s and it paid for half of the construction of the Soviet dream city.

Williams, Russian Art and American Money, p. 153 in: Dreamworlds of Mass Culture, …

[2] http://eng.mmk.ru/about/

hollow blocks in windowless room

11.09.2015 — 14.11.2015

curated by Sebastian Cichocki with Łukasz Jastrubczak

Knoll Galerie, Vienna

http://www.knollgalerie.at/

with Robert Barry, Susanne Kriemann, Paweł Kruk, Małgorzata Mazur, Agnieszka Polska

The exhibition revolves around excerpts from “Minus Twelve”, Robert Smithson’s notes on the qualities of minimal art (1968). All the displayed objects – artworks, documents and found objects – are related to the “Mirage” project (2011- ongoing) by the visual artist Łukasz Jastrubczak and the curator Sebastian Cichocki – which initially materialized as the book of the same title. It consisted of correspondence between the authors, in the form of a game or “duel” of images and text. Jastrubczak’s photographs arose during the artist’s journey around the United States, and Cichocki’s textual responses (treated as “curatorial guides and references”) were written in Poland and based, in part, on earlier essays by Smithson and other artists active in the 60s and 70s. In response to photographs sent by email, texts arose that were guides for the taking of subsequent photos, and so on. The authors had only 24 hours to respond.

The book was then reinterpreted in a series of staged lectures, concerts, public readings, and finally the film “Mirage: In Order of Appearance”. The film was shot in the summer of 2014, when the authors decided to go on an American journey in the footsteps of theirs protagonists: the pioneer of green conceptualism John G. Lee, his partner Anna Zaloon and the teenage hitchhiker Mia.

Some elements in the exhibitions are cameo appearances by guest artists (including the legendary conceptual artist, Robert Barry), works interwoven into the somehow cinematic sequence of events.

New York Art Book Fair

18.09.2015

Animating Archives in Photobooks 

nyartbookfair.com/conference/
Archives and photography have always had a dynamic relationship and the using of an archive as a narrative structure has been an increasing phenomenon in photobooks in recent years. Archives are often moribund if not banal, but once they are launched into motion by the actions of artists they come alive with almost endless possibilities and permutations. The photo-based artists’ use of the archive is often fragmentary, allusive and at times even poetic. In this session we explore the restructuring of the archive in the work of the artist Susanne Kriemann and the London based group the Archive of Modern Conflict.  Organized by Matthew Carson and moderated and introduced by Bernard Yenelouis.

Susanne Kriemann will talk about her artist books RAY, Ashes and broken brickwork of a logical theory, One Time One Million.

18^th of September 2015
1:30-2:55

Attuning One Book

16.09.2015

Susanne Kriemann’s first audiobook Attuning One Book (2015) is available online.

www.sinkhole-audio.net

Together with Cia Rinne, a Finland-Swedish-born artist and poet, Kriemann has attuned her One Book (2009/2015) by intersecting audio and digital recordings of birds with conceptual readings including excerpts of Dieter Roelstrate’s text “Flight – A Single Scattering of Thought” which was written for One Book in 2009. The original pages of One Book were taken from Vögel vor der Kamera (1961) depicting different types of birds and were printed upon as a part of the 2009 exhibition “Anabasis: Rituals of Homecoming” curated by Adam Budak. The collaboration between Kriemann and Rinne began earlier this year with the salon event Attuning One Book at the Animal Sound Archive of Berlin’s Museum of Natural History within the context of the group exhibition “homecomings: PROJECTIVE SPACE” curated by Cassandra Edlefsen Lasch and Annabelle von Girsewald. Sinkhole is an online publishing project for artists initiated by designer James Langdon.

Conclict, Time, Photography

31.07.2015 — 25.10.2015

Albertinum, Dresden

with upon others Jules Andrieu, Luc Delahaye, Ken Domon, Matsumoto Eiichi, Jim Goldberg und Kamel Khelif, Shigeo Hayashi, Thomas Höpker, Toshio Fukada, Kenji Ishiguro, Kikuji Kawada, Jens Klein, Susanne Kriemann, Jerzy Lewczyński, Agata Madejska, Diana Matar, Chloe Dewe Mathews, Susan Meiselas, An-My Lê, João Penalva, Peter Piller, Walid Raad, Ursula Schulz-Dornburg, Taryn Simon, Shomei Tomatsu, Paul Virilio, Jane und Louise Wilson, Sasaki Yuichiro

www.skd.museum

The day will come when photography revises

19.06.2015 — 13.09.2015

Kunstverein Hamburg
with Peggy Buth, Charlotte Duale, Harun Farocki, Abrie Fourie, Anne Hardy, Inga Kerber, Philipp König, Susanne Kriemann, Michael Part, Josephine Pryde, Clunie Reid, Max Schaffer, Dirk Steven, Una Szeemann u. Bohdan Stehlik, Toilet Paper Magazine, Tris Vonna-Michell, Lidwien van de Ven

www.kunstverein.de

homecomings: PROJECTIVE SPACE

01.05.2015 — 27.06.2015

Restaging History

24.04.2015 — 31.05.2015

OFF Biennale Budapest

Artists: Carlos Amorales, Heidrun Holzfeind, Sven Johne, Meiro Koizumi, Susanne Kriemann, Zbigniew Libera, Maha Mahmoun, Roee Rosen, Clemens von Wedemeyer

curated by Livia Paldi and Edith Molnar

http://offbiennale.hu

Images That Speak

02.04.2015 — 23.05.2015

Presentation House Gallery, Vancouver, BC

Artists: Michele Abeles, Shannon Ebner, Ryan Foerster, Susanne Kriemann, Steve McQueen, Arthur Ou, Ryan Peter, Eileen Quinlan, Matt Saunders, Stephen Waddell
Curated by Christopher Eamon.

www.presentationhousegallery.org

http://montecristomagazine.com

Allegory of the Cave Painting

18.03.2015

Reader

With contributions by Haseeb Ahmed, Ignacio Chapela, Justin Clemens, Georges Didi-Huberman, Jonathan Dronsfield, Christopher Fynsk, Vincent W.J. van Gerven Oei, Natasha Ginwala & Vivian Ziherl, Adam Staley Groves, Sean Gurd, Adam Jasper, Susanne Kriemann, Brenda Machosky, Mihnea Mircan, Alexander Nagel, Rosalind Nashashibi, Tom Nicholson, Jack Pettigrew, Raphaël Pirenne, Susan Schuppli, Lucy Steeds, Jonas Leonard Tinius, Marina Vishmidt, Christopher Witmore, and Khadija von Zinnenburg Carroll.

www.moussepublishing.com

5 years

06.02.2015 — 20.03.2015

RaebervonStenglin, Zürich

www.raebervonstenglin.com

Unendliche Bibliothek

24.01.2015 — 29.03.2015

Alte Fabrik Rapperswil, CH

curated by Alexandra Blättner

www.kulturpack.ch

Rotterdam in the Picture

24.01.2015 — 17.05.2015

Nederlands Fotomuseum Rotterdam

curated by Frits Gierstberg and Joop de Jong

www.nederlandsfotomuseum.nl