Kunst Haus Wien
A Spectrum of Seeing
Grünzeug, Pflanzen in der Fotografie der Gegenwart
Berlinische Galerie Berlin
Gropius Bau Berlin
Takeover invites children to take on the role of curators. Featuring works by international artists, the exhibition curated and realised by Berlin primary school students is now on view on the ground floor of the Gropius Bau.
With Vanessa Farfán, Jan Peter Hammer, Khansa Humeidan, Susanne Kriemann, Michelle-Marie Letelier, Lisa Rave, Egill Sæbjörnsson. The first iteration took place in 2021 with Roberta Busechian and Tue Greenfort, .
MINING PHOTOGRAPHY. THE ECOLOGICAL FOOTPRINT OF IMAGE PRODUCTION
Museum für Kunst und Gewerbe Hamburg
“Mining Photography: The Ecological Footprint of Image Production” is dedicated to the material history of key resources used for image production, adressing the social and political context of their extraction and waste and its relation to climate change. Using historical photo¬graphs and contemporary artistic positions as well as interviews with restorers, geologists, and climate researchers, the exhibition tells the story of photography as one of industrial production, showing the extent to which the medium has been deeply intertwined with human change of the environment.
With Ignacio Acosta, Lisa Barnard, F& D Cartier, Optics Division of the Metabolic Studio (Lauren Bon, Tristan Duke, Richard Nielsen), Klasse Digitale Grafik HFBK (Mari Lebanidze, Cleo Miao, Leon Schwer und Marco Wesche), Susanne Kriemann, Mary Mattingly, Daphné Nan Le Sergent, Lisa Rave, Alison Rossiter, Robert Smithson, Simon Starling, Anaïs Tondeur, James Welling, Noa Yafe, Tobias Zielony
The exhibition is curated by artist, author and curator Boaz Levin and Dr. Esther Ruelfs, Head of the Photography and New Media Collection at MK&G. In cooperation with Kunsthaus Wien, Gewerbemuseum Winterthur and the HFBK Hamburg.
Mind Bombs. Visual Cultures of Political Violence
RAF, NSU and IS are names of terrorist groups whose extremist propaganda and political violence challenge the visual arts to react decisively. The exhibition “MINDBOMBS” at the Kunsthalle Mannheim opens up a highly topical artistic perspective on the history and political iconography of modern terrorism. For the first time, the effects of social revolutionary, right-wing extremist and jihadist terrorism on visual culture will be examined together in three sections. 20 years after September 11, 2001 and 10 years after the discovery of the NSU in Germany, the exhibition is dedicated to the fighting term of terrorism and its changes in history from the French Revolution to the present.
Curated by Dr. Sebastian Baden
Artists: Hiba Al Ansari, Khalid Albaih, Morehshin Allahyari, Francis Alÿs, Kader Attia, Walter Dahn & Jiří Dokoupi, Jacques-Louis David, Christoph Draeger, Hans-Peter Feldmann, Forensic Architecture, Chloé Galibert-Lâiné & Kevin B. Lee, Gregory Green, Johan Grimonprez, Richard Hamilton, Omar Imam, Initiative 19. Februar Hanau, Christof Kohlhöfer, Susanne Kriemann, Jean-Jacques Lebel, Almut Linde, Georg Lutz, Édouard Manet, Paula Markert, Olaf Metzel, Henrike Naumann, Wolf Pehlke, Ariel Reichman, Gerhard Richter, Thomas Ruff, Ivana Spinelli, Klaus Staeck, J.M. Voltz
Intervention „Brick by Brick“: Francesca Audretsch, Vanessa Bosch, Mustafa Emin Büyükcoşkun, Charlotte Eifler & Clarissa Thieme, Anna Knöller, Isabelle Konrad, Judith Milz, Nis Petersen, Johanna Schäfer, Natalia Schmidt, Karolina Sobel, Janis Zecka
In the SS-Auxiliary – The Female Guards of the Ravensbrück Women’s Concentration Camp
Permanent artistic intervention at the Mahn‑ und Gedenkstätte Ravensbrück
The exhibition focuses on the following themes: the women’s background; the power and violence relationships that prevailed at the camp; the career opportunities of female guards; and the site of Ravensbrück as a principal training and recruitment center for female guards. In addition, it addresses the victims’ attempts of seeking justice as well as the “silence that speaks volumes” on the part of their perpetrators. Last but not least, the fascinating appeal of the figure of the ‘SS female guard’ in popular culture is also put up for discussion.
Under the title “Pictures, Voices, and Clichés”, five artists have developed interventions in cooperation with the exhibition project. They approach the topic of the SS female guard from a perspective relevant to the present day. The traces of violence in architectural relics and landscapes, the dichotomy of home and crime scene, the role of music within the context of forced labour, the ‘brutal cosiness’ of the interiors of the guards’ accommodation, the educational methods within the Nazi Volksgemeinschaft (‘people’s community’) – these are all focal points of the artistic strategies. The artistic contributions of Marianna Christofides, Arnold Dreyblatt, Moritz Fehr, Dominique Hurth and Susanne Kriemann are embedded within the historical exhibition.
BEUYS OPEN SOURCE
45 Davies Street, London
Not an exhibition in homage, Beuys Open Source treats the legacy of Joseph Beuys as something of a publicly accessible data set. Working with this twenty-first century metaphor involves seeing the Artist not as a political figure but as someone with far more social sway in our contemporary age: the startup CEO. That is, the founder of something innovative; the boss with skittish determination; the convener of bodies, who together can defy normalcy to materialise fantasy. Here, we are reminded that epistemologically both mysticism and symbolism – two words steeped in Beuysian associations – have common roots in that which is collectively agreed, believed, and followed.
Artists: Carla Åhlander, Mikael D. Brkic, Dan Coopey, Rafael Pérez Evans, Laura Ní Fhlaibhín, Johanna M. Guggenberger, Steph Huang, Daniel Huss, Susanne Kriemann, Elisabeth Molin, Joel Tomlin and Abbas Zahedi.
CHENNAI PHOTO BIENNALE – EDITION III
MAPS OF DISQUIET
Titled Maps of Disquiet, the 3rd edition of the Chennai Photo Biennale, reflects on the exigencies of our times: resisting majoritarian impositions, ecological collapse, and technological dystopias by reclaiming pluralities of thought, voices, and art, and building new networks of solidarity and care. In today’s world of highly specialized fields of operation, rigid chains of command and niche disciplinary focus, a space such as a biennale offers the possibility of rethinking our futures through broader parameters that address the complexity of the disquiet that we are experiencing.
The site of the ‘Great Trigonometrical Survey’ of 1802, the first colonial attempt to measure and map the subcontinent, Chennai today is an arena for the creation of resistant cartographies. The biennale illuminates the invisible realms of power and knowledge that shape our global present while simultaneously navigating contested visions of our global future. It asks, whose resources? Whose rivers? Whose interests? Whose voices? Whose images?
Curated by Arko Datto, Boaz Levin, Kerstin Meincke and Bhooma Padmanabhan
Artists: Amitesh Grover
, Anais Tondeur
, Andreas Langfeld & Sarabhi Ravichandran, Arthur Crestani
, Babu Eshwar Prasad
, Carolina Caycedo
, Gauri Gill
, Harun Farocki
, Hito Steyerl
, James P Tylor
, Jane Jin Kaisen
, Katja Stuke &
Oliver Sieber, Katrin Koenning
, Lisa Rave
, Michael Hanna
, Mohini Chandra
, Nico Joana Weber
, Parvathi Nayar & Nayantara Nayar, Patrick Pound
, Rohini Devasher
, Rohit Saha
, Rory Pilgrim
, Ruth Patir
, Sanchayan Ghosh
, Saranraj, Senthil Kumaran
, Siva Sai Jeevanantham
, Soumya Sankar Bose
, Sridhar Balasubramanium
, Susanne Kriemann
, Tobias Zielony
, Vamika Jain
, Vasudha Thozhur
, Yuvan Aves
Inventing Nature. Plants in the arts
Staatliche Kunsthalle Karlsruhe
Works from more than 500 years of art history demonstrate the changes in representations and understanding of “green” nature.
Plants are used, cultivated, loved – and eradicated.
Whether healing or poisonous, they are indispensable for humans as the basis of all life. They are the subject of scientific and aesthetic observation, symbols and projection objects of communication and finally elements in the design of living spaces. Against the backdrop of advancing climate change and increasing global environmental awareness, the exhibition takes a look at our relationship to the world of plants. While art and artists were still arguing for a return to nature after the Age of Enlightenment, a paradigm shift can be seen in the 21st century: Artists are trying to create an aesthetic awareness of the fact that we will have to seek new forms of action, symbioses and synergies with nature in the future.
Curated by Kirsten Voigt
Artists: Ansel Adams, Willem van Aelst, Abbas Akhavan, Lara Almarcegui, Silvia Bächli, Joseph Beuys, Eugen Bracht, Jean-Baptiste Carpeaux, Albert-Ernest Carrier-Belleuse, Julian Charrière, François Chauveau, Donna Conlon, Lucas Cranach d. Ä., Lucas Cranach (Nachfolger), Gregory Crewdson, Simone Demandt, Mark Dion, Peter Dreher, Georg Dionysius Ehret, Max Ernst, Henri Fantin-Latour, Anselm Feuerbach, Spencer Finch, Joan Fontcuberta, Franziska von Geiger-Weishaupt, Julio González, Ilkka Halso, Franz de Hamilton, Karl Wilhelm de Hamilton, Hans Holbein d. J., Georg Wilhelm Issel, Joan Jonas, Eva Jospin, Edmund Friedrich Kanoldt, Ferdinand Keller, William Kentridge, Paul Klee, Fritz Klemm, Bernd Koberling, Volker Kreidler, Susanne Kriemann, Wolfgang Laib, Lorenz Lingg, Christiane Löhr, Emil Lugo, Theresa Lükenwerk, Gabriela Oberkofler, Clara Peeters, Frans Post, Paul von Ravenstein, Odilon Redon, Tobias Rehberger, Jacob van Ruisdael, Rachel Ruysch, Hanns Schimansky, Julia Schmid, Karl Schmidt-Rottluff, Miron Schmückle, Georg Scholz, Martin Schongauer, Adolf Schroedter, Martin Schwenk, Sean Scully, August Wilhelm Sievert, Kiki Smith, Gerda Steiner & Jörg Lenzlinger, Thomas Struth, Südniederländischer Meister, Yves Tanguy, Cella Thoma, Hans Thoma, Barthélémy Toguo, Liliane Tomasko, Su-Mei Tse, Félix Vallotton, Gaspar Peeter Verbruggen d. J., Maurice de Vlaminck, Robert Voit, Lois Weinberger, Erwin Wurm und Andreas Züst.
11th Göteborg International Biennal of Contemporary Art
The Ghost Ship and the Sea Change
Curated by Lisa Rosendahl
Artists: Meira Ahmemulic, Henrik Andersson, Ariella Aïsha Azoulay, Michael Baers, Gaëlle Choisne, Benjamin Gerdes, Cecilia Germain, Unni Gjertsen, Ayesha Hameed, HAMN (Nasim Aghili & Malin Holgersson), Salad Hilowle, Evan Ifekoya & Ajamu X, Conny Karlsson Lundgren Damla Kilickiran, Susanne Kriemann, Oscar Lara, Marysia Lewandowska, Erika Arzt & Juan Linares, Anna Ling, Silvano Lora, Jonas (J) Magnusson & Cecilia Grönberg, Ibrahim Mahama, , Pedro Neves Marques, Fatima Moallim, Hira Nabi, M. NourbeSe Philip, Daniela Ortiz, Manuel Pelmuş, Tabita Rezaire, Pia Sandström, The Situationist International, Shanzhai Lyric & Solveig Qu Suess, Lisa Tan, Lisa Torell, Jessica Warboys, Alberta Whittle.
Konsthallen Blå Stället, Göteborgs Konsthall, Franska Tomten, Museum of World Culture, The Garden Society of Gothenburg, Röda Sten Konsthall, online and offsite.
Things we sense about each other
Badischer Kunstverein, Karlsruhe
Mathieu Kleyebe Abonnenc, Irina Afanasyeva, Vahram Aghasyan, Lala Aliyeva, Stefan Bertalan, Anna Dasović, Ines Doujak, Ilkin Huseynov, Anna Jermolaewa, Adela Jušić, Susanne Kriemann, Misha Kurilov, Elturan Mammadov, Ekaterina Muromtseva, Jura Shust, Harout Simonian, Lucine Talalyan, Aleksei Taruts, Iulia Toma, Miloš Trakilović, ZIP Group
The Badische Kunstverein is the hub of a wide-ranging exhibition, research, and events project that focuses on images and counterimages of Europe. Currently in planning in conjunction with the exhibition Things we sense about each other at the Kunstverein, featuring 21 international artists, is a traveling academy which will be launched in June 2021, and will be localized in the cities of the various project partners under the title Things we share with each other. In cooperation with tranzit.at from Vienna, eight co-curators from Sarajevo, Poltava, Kiev, Baku, Prague, Minsk, Yerevan, Krasnodar, and Bucharest were invited to realize the exhibition and enter into a long-term dialogue as a trans-European network.
Read more… http://www.badischer-kunstverein.de
Susanne Kriemann, Fotografien neu ordnen, Gestrüpp
Museum für Kunst und Gewerbe Hamburg
Susanne Kriemann deals in her art with radioactive radiation and the effects of civilisation on nature. In the exhibition Reconsidering Photography: Underbrush, the artist places two of her work complexes in dialogue with historical photographs and prints from the collection of the Museum für Kunst und Gewerbe Hamburg (MK&G). Kriemann uses not only photography in her work but also draws on historical printing methods such as photogravure, for example when she tries to capture the radioactivity of contaminated plants in Gessenwiese, Kanigsberg (2017–2020). She extracts the pigment for this process from the affected plants themselves, thus making radioactivity a physical component of her images. An installation of plant samples in the show gives an insight into the development of her photogravures.
For the second work series on view, Mngrv (2018–2020), which she produced especially for the show, Kriemann was inspired by the so-called nature-printed engravings made by botanists Constantin von Ettingshausen (1826–1897) and Alois Pokorny (1826–1886). She makes prints based on photographs of mangrove plants, into which she also incorporates pieces and structural elements of plastic waste she collects in the mangrove forests of South and South-East Asia.
In the show, Kriemann juxtaposes her two series with around forty works from the Photography and New Media Collection at MK&G, thus establishing a connection with historical printing techniques. Her intuitive selection of photogravures, pigment prints and nature-printed engravings is oriented around motifs derived from underbrush. The works on view were produced by artists including Annie W. Brigman (1869–1950), Clarence Hudson White (1871–1925), Gertrude Käsebier (1852–1934), Alice Boughton (1867–1943), Oscar (1871–1937) and Theodor Hofmeister (1868–1943), and Heinrich Kühn (1866–1944).
reaad more… www.mkg-hamburg.de
Forest, Frst, t like teamwork
Salonul de projecte, Bucarest
The third artistic intervention in the EXPO_01_BUC_ARH_SP.PUBLIC exhibition proposes a critical approach to the phenomenon of deforestation, from the viewpoint of artist Susanne Kriemann. For this occasion, she has realised a visual essay that will be distributed to the public free of charge, produced by means of silk screen printing, which in this case employs a pigment extracted from fragments of discarded Ikea furniture. The ballad combines information from various sources: lines from poems and folk rituals interspersed with quotations from local and international press and academic articles, which discuss the future prospects of Romania’s virgin forests in the European context. The texts are accompanied by a selection of images from the Mihai Oroveanu Image Collection, which present idyllic forests untouched by human hand and, by contrast, the lumber industry in Romania at the beginning of the twentieth century. These photographs point to a connection with the current situation, in which we are witnessing large-scale illegal logging over vast forested areas of the Carpathian Mountains, a process driven by the European market’s demand for raw lumber, a market dominated by the economic interests of giants such as the Inter Ikea Group.
The work in process is co-produced with Cristina Moreno Garcia (research), Grigore Liteanu (silk screen printing, pigment production) and Isabel Motz (design).
Susanne Kriemann: MNGRV
Opening: 19.09.2020 from 1–6 pm
Opening times: Thursday, Friday, Saturday from 1–5 pm and on appointment.
Kunstruimte Galerie Block C, Groningen, NL
curated by Ruby de Vos, supported by Goethe Institute
Mngrv (2018-2020) is Susanne Kriemann’s most recent work, in which borders between culture and nature, between human and non-human become more and more indistinct. Mngrv is based on a field research in Singapore, Indonesia and Sri Lanka. Along with the exhibition, Susanne Kriemann and Block C will release two new publications designed by Dongyoung Lee, with text excerpts by Vivian Ziherl, Natasha Ginwala and Bernadette Bensaude-Vincent.
Fotobokfestival Oslo 2020: The Climate Emergency in 50 Rounds
Arbeidersamfunnets plass, Oslo, Norway
Fotobokfestival Oslo is a week-long event which aims to explore the photo book as an artistic medium and phenomenon. The festival was established by The Norwegian Association of Fine Art Photographers and continues to feature widely recognized art photographers and young, new participants in photography, the photo book genre and publishing activity nationally and internationally.
The exhibition contains works made by 50 photo book artists and artist collectives whose work urgently responds to the climate crisis. The artists represent 36 countries from six continents, and their projects have been created in regions that span the entire planet. Their photo books offer a striking comparative analysis of a global phenomenon that has reached a state of emergency.
Galerie im Körnerpark, Berlin
curated by Dorothee Bienert and Kati Kivinen
The ecological balance on earth has been shaken. Climate change, environmental pollution and species extinction are just a few of the buzzwords that are worrying many people. Nevertheless, the realisation that mankind is destroying the basis of life on the planet is leading to lasting changes in behaviour in very few people.
The exhibition deals with the fragile relationship between man and nature from various perspectives and seeks ways to re-explore it. How can art create a space in which we define our relationship to the (surrounding) world in a new way? Can art and poetry contribute to healing processes that improve the interaction between living beings?
In their works, the invited artists* deal with topics such as water as the origin of life; the paradox of fossil fuels that store solar energy; or the garbage in the oceans that could become the starting point for a gigantic archive of humanity. The artists counter the widespread perplexity with unusual models of thought and playful experiments. They shift contexts and thus open up new perspectives on known facts, they trace forgotten knowledge about the forces of nature and fall back on old myths, rituals and symbols, or they invent new ritual acts in search of meaningful relationships with the environment.
With Felipe de Ávila Franco (BRA/FI), Niina Lehtonen Braun (FI/DE), Markus Hoffmann (DE), Susanne Kriemann (DE), Anna Reivilä (FI), Sara Rönnbäck (SE), Kati Roover (FI), Ingrid Torvund (NO), Niina Tervo (FI)
Performance-Projekt: Viviana Druga (RO/DE) und Dafna Maimon (FI/DE)
Kunstfort Vijfhuizen, The Netherlands
In loose, intuitive gestures, artists bring together their dreams and thoughts about alternative forms of parenting, collective rituals of healing, and recognizing ourselves as nature.
With Mehraneh Atashi, Lisa Gliederpuppe, Susanne Kriemann, Mire Lee, Dorine van Meel, Kevin Osepa, Eric Peter, Lotte Lara Schröder, Müge Yilmaz.
The Prenumbral Age, Art in the Time of Planetary Change
Museum of Modern Art Warsaw, Warsaw, PL
curated by Sebastian Cichocki and Jagna Lewandowska
The Museum of Modern Art in Warsaw invites to the exhibition “The Penumbral Age. Art in the Time of Planetary Change”, where we present artistic works from the last five decades, based on observations and visualizations of the changes underway on planet Earth. It provides a space for discussion on “managing the irreversible” and new forms of solidarity, empathy and togetherness in the face of the climate crisis.
With Jonathas de Andrade, Isabelle Andriessen, Rasheed Araeen, Robert Barry, Kasper Bosmans, Boyle Family, Agnieszka Brzeżańska, Dora Budor, Vija Celmins, Center for Land Use Interpretation, Alice Creischer, Czekalska + Golec, Betsy Damon, Tacita Dean, Thierry De Cordier, Agnes Denes, Ines Doujak, Jimmie Durham, Jerzy Fedorowicz, Hamish Fulton, Futurefarmers , Cyprien Gaillard, Simryn Gill, Wanda Gołkowska, Guerrilla Girls, Małgorzata Gurowska, Anna & Lawrence Halprin, Mitsutoshi Hanaga, Suzanne Husky, Ice Stupa Project, INTERPRT, Anja Kanngieser, Karrabing Film Collective, Beom Kim, Frans Krajcberg, Susanne Kriemann, Stefan Krygier, Katalin Ladik, Nicolás Lamas, John Latham, Richard Long, Antje Majewski, Nicholas Mangan, Krzysztof Maniak, Qavavau Manumie, Robert Morris, Shana Moulton & Nick Hallett, Teresa Murak, Peter Nadin & Natsuko Uchino & Aimée Toledano, Bruce Nauman, Nishiko, Isamu Noguchi, OHO, Dennis Oppenheim, Prabhakar Pachpute & Rupali Patil, Maria Pinińska-Bereś, Agnieszka Polska, Ludmiła Popiel, Joanna Rajkowska, Jerzy Rosołowicz, Oscar Santillán, Gerry Schum, Bonnie Ora Sherk, Anna Siekierska, Rudolf Sikora, Magdalena Starska, Irv Teibel, Akira Tsuboi, Maria Waśko, Ryszard Waśko, Lawrence Weiner, Magdalena Więcek, Andrea Zittel
(Un)endliche Ressourcen? Künstlerische Positionen seit 1980
Städtische Galerie Karlsruhe
curated by Christina Korzen
with Nándor Angstenberger, Bernd und Hilla Becher, Michael Beutler, Joseph Beuys, Björn Braun, Nina Canell, Julian Charrière, Tony Cragg, Tue Greenfort, Andreas Gursky, Georg Herold, Roni Horn, Markus Jäger / ONUK, Kristof Kintera, Susanne Kriemann, Alicja Kwade, Klara Lidén, Agnes Märkel, Marlie Mul, Sigmar Polke, Klaus Rinke, Lois Weinberger;
The effects of today’s consumer society on our environment are omnipresent. Be it that we experience it with our own senses and discuss it in everyday life, or that we can follow the relevant reports every day in the media.
Based on selected examples from the past 40 years, the exhibition presents contemporary artists who deal with the mutual influences between the increasingly globalized consumer society and its environment.
Susanne Kriemann, Ge(ssenwiese) K(anigsberg) Library for Radioactive Afterlife
Artist book published by Spector Books, 2020
edited by Cassandra Edlefsen Lash,
with texts by Eva Wilson, Bergit Arends, Cia Rinne, Hartmut Rosa, Grit Ruhland, Susanne Kriemann,
and interlude by Anna Löwenhaupt Tsing and Donna Harraway
design Club Koraal Brussels, 2020
Leopold Hoesch Museum Dueren
Vom Leben in Industrielandschaften – Eine fotografische Bestandsaufnahme
curated by Anja Dorn
with Bernd und Hilla Becher, Joachim Brohm, Irmel Kamp, John Kelsey, Aglaia Konrad, Susanne Kriemann, Armin Linke, Jürgen Matschie, Angela Melitopoulos & Maurizio Lazzarato, Albert Renger-Patzsch, August Sander, Arne Schmitt, Carl Schütz und Ulrich Wüst
KB19 2nd Karachi Biennale
Flight Interrupted, Ecoleaks from the Invasion Desk
curated by Muhammad Zeeshan
With upon others: Adeela Suleman, Ali Kazim, Basir Mahmood, Naima Dadabhoy, Natasha Jozi, Sohail Zuberi, Ursula Biemann, Wolfgang Spahn, Henrik Mayer and Martin Keil, Noorjehan Bilgrami, Zarmeene Shah, Marvi Mazhar, Tariq Alexander Qaiser, Sohail Zuberi, Sadia Salim (Group) and many more
10th Göteborg International Biennal for Contemporary Art
Opening: September 6
Curated by Lisa Rosendahl
Licht Luft Scheiße
Opening: 16 August, 7 PM
nGbK / Botanisches Museum, Berlin
Concepts and practices pertaining to all that now falls under the single term ›sustainability‹ have been circulating for over a century. Nature conservation, recycling, and self-sufficiency number among the great variety of practical responses to ecological concerns brought about not least by European reform movements of the early twentieth century.
In its ›archeological‹ review and reappraisal of these still largely marginal alternatives to a modern lifestyle increasingly at risk of running aground on its own ambitions, »Licht Luft Scheiße« [Light Air Shit] ventures a fundamental rethink of the relations between human beings and the environment.
The project is a joint production of: Botanischer Garten und Botanisches Museum der Freien Universität Berlin (BGBM), Martin-Elsaesser-Stiftung, Nachbarschaftsakademie im Prinzessinnengarten Kreuzberg and neue Gesellschaft für bildende Kunst (nGbK).
Concepts and practices pertaining to all that now falls under the single term ›sustainability‹ have been circulating for over a century. Nature conservation, recycling, and self-sufficiency number among the great variety of practical responses to ecological concerns brought about not least by European reform movements of the early twentieth century.
In its ›archeological‹ review and reappraisal of these still largely marginal alternatives to a modern lifestyle increasingly at risk of running aground on its own ambitions, »Licht Luft Scheiße« [Light Air Shit] ventures a fundamental rethink of the relations between human beings and the environment.
Artistic directors: Sandra Bartoli, Marco Clausen, Silvan Linden, Åsa Sonjasdotter, Florian Wüst (nGbK project group) Kathrin Grotz, Patricia Rahemipour (BGBM)
Opening: April 25, 6 PM
GC De Markten, Brussels
Prior to the opening of the exhibition Remembering Landscape LUCA School of Arts organises a one-day symposium on landscape and memory at De Markten. During this day, scientists and artists working in different fields will shed light on how landscapes can incorporate history and how the memory of landscapes can be imagined in arts and sciences.
With contributions by Bruno Notteboom, Susanne Kriemann, Jeroen Laureyns, Veerle Van Eetvelde, Patrick Verlaak, Kristof Vrancken en Miek Zwamborn.
The language of the symposium is English. Attending is free, but registration is mandatory
The symposium is organised by LUCA School of Arts, in conjunction with the Museum für Gegenwartskunst (Siegen) and GC De Markten (Brussel).
Nuclear Aesthetics: Kunstlicht Launch Event
7 – 10 PM
Framer Framed, Amsterdam
Kunstlicht Journal’s upcoming issue on Nuclear Aesthetics sets out to explore questions emerging from art in/of the Nuclear Age: what role do art and visual culture assume in a post-Fukushima political climate where the danger of other nuclear accidents, and of nuclear weaponry, remain at sight? Historically, how have artists grappled with the political violence and sensory invisibility of radioactivity? How have aesthetic practices about the nuclear responded to more recent ‘nuclear events’ like the Chernobyl disaster? Spanning different genres, periods and geographical locations, the artistic and academic contributions of this Kunstlicht issue offer an array of perspectives on global nuclear ecologies, from the visual culture of the first atomic tests to the farsighted future of nuclear waste storage.
Doors open at 19:00
19:30-19:40 – Short welcome by Kunstlicht and VU Environmental Humanities Center
19:40-19:50 – Nuclear Aesthetics Issue presentation by Kyveli Mavrokordopoulou and Ruby de Vos
19:50–20:20 – Discussion between Iris Pissaride (Kunstlicht editor-in-chief) and Agnès Villette (artist) about Villette’s photographic practice.
20:20-20:30 – Short description of Susanne Kriemann’s work which will be on view throughout the night
20:30-22:00 – Drinks and time to check out the journal and the artwork!Apart from the Kunstlicht journals a series of publications by Susanne Kriemann will be available for sale. A table with publications on nuclear culture and art will be available for the public to browse through.
Managing editors: Kyveli Mavrokordopoulou and Ruby de Vos
Book Launch: homecomings 1, 2, 3, etc.
Changing Room, Berlin
Published with Archive Books, Berlin
Curated and edited by Cassandra Edlefsen Lasch and Annabelle von Girsewald
Øystein Aasan, Saâdane Afif, Kirsty Bell, benandsebastian, Luis Berríos-Negrón, Bettina Buck, Adam Budak, Anton Burdakov, Libia Castro & Ólafur Ólafsson, Valérie Chartrain, Rhea Dall,
Jean-Baptiste Decavèle, Samuel Dowd, Tatiana Echeverri Fernandez, Eric Ellingsen, Jean-Pascal Flavien, Melanie Franke, Hreinn Friðfinnsson, Hadley+Maxwell, Elín Hansdóttir, Lasse Schmidt Hansen, Karl Holmqvist, Emma Waltraud Howes, Hervé Humbert, Susanne Kriemann, LEEP (Lynn Peemoeller and Eric Ellingsen), Tanaz Modabber, Florian Neufeldt, Hans Ulrich Obrist, Kirsten Palz, Norbert Palz, Sophia Pompéry, Cia Rinne, Dieter Roelstraete, Kristine Siegel, Egill Sæbjörnsson, Tomás Saraceno, Ursula Ströbele, Loïc Verdier, Marco Thiella, Alvaro Urbano, Katharina Wendler, Florian Wüst, Chiara Zanella
The book launch features a series of readings and performances by, among others:
Shane Anderson, Samuel Dowd, Tatiana Echeverri Fernandez, Susanne Kriemann & Cia Rinne
Landschaft, die sich erinnert / Remembering Landscape
Museum of Contemporary Art Bucharest, RO
Bogdan Bordeianu, Lucian Bran, Marianna Christofides, Chloe Dewe Mathews, Lukas Einsele, Anca Benera & Arnold Estefán, Cyprien Gaillard, Dani Ghercă, Anne Heinlein & Göran Gnaudschun, Nicu Ilfoveanu, Markus Karstieß, Thomas Kellner, Jan Kempenaers, Aglaia Konrad, Susanne Kriemann, Armin Linke, Ciprian Mureșan, Andreas Mühe, Multiplicity, Alexandra Navratil, Cristian Rusu, Larisa Sitar, Milica Tomić & Sans Souci Collective, Unknown Fields of Division, Danny Veys, Paul Virilio, Kristof Vrancken
Curators: Sandra Demetrescu, Eva Schmidt, Kai Vöckler
Landscape is an entity in flux, to be viewed in a cultural perspective, as pictorial and internal architecture of form, and to be understood as a situation in which political and economic histories have left traces behind. Then, the question raised by the exhibition is not “why we require an image of landscape at all?”, but rather “which image of which landscape do we need?”, and “what contribution to it can be made by artistic projects?” When thinking about landscape we tend to conceive of supposedly escapist, dreamy self-forgetfulness, apparently anachronistic notions of home and fatherland, or at the opposite end of the spectrum, to the tourist clichés. But how could a contemporary image of landscape be composed, acknowledging change, thematizing destruction, and simultaneously being capable of asking questions about the preconditions to a positioning?
Public Program initiated and organized by: Matthew C. Wilson
Spectral: of or like a ghost; of or concerning the spectrum. Exchange: a conversation; an economic transaction; to give or receive one thing in place of another (e.g. energy between an organism and its environment).
Tabakalera, the International Centre for Contemporary Culture, is hosting the Spectral Exchangeseminar on November 16 and 17. Artists, curators, researchers and scientists will analyse the relationship between contemporary culture, artistic practices and the electromagnetic spectrum in talks, debates and screenings open to the general public.
Spectral Exchange is an on-going project that takes its structure and content from the non-visible electromagnetic spectrum (infrared, microwaves, and radio to one side of the visible; and ultraviolet, x-rays, and gamma rays to the other). It is first and foremost an interdisciplinary methodological framework to draw out connections between disparate domains of knowledge and practice, bringing together cultural and scientific ways of knowing.
Pochen Multimediale Biennale
Chemnitz, verschiedene Orte
Angela Aux, Martin Bricelj Baraga, Wilhelm Frederking, Thomas Judisch, Jan Kummer, Katja Manz, Grit Ruhland, Rene Seifert, Zimoun, Alabaster Becher, Olaf Bender, Josef Haslinger, Susanne Kriemann, Andrea Lange, Johannes Plank, Michael Saup;
Finally, a biennial is knocking on the gates of Chemnitz: POCHEN. POCHEN will narrate regional stories and regional history in two years rhythm. Each edition of the biennial will focus on a topic which is closely linked to the city, its people, and its past, present and future; and which is strongly linked to its identity.
POCHEN will narrate these stories multimedially: using sound, painting, words, installations and light, audiovisuals, performances and staged. Titled Tage des Aufbruchs – which translates into Days of the Pioneers – the first edition of POCHEN will be dedicated to the Wismut, once one of the biggest uranium mining companies in the world, and the impact it had on the region.
Zerrissene Gesellschaft. Ereignisse von langer Dauer
Centre de la photographie Genève, CH
Curated by Anne König und Jan Wenzel
Andrzej Steinbach, Paula Bulling, Anne König, Susanne Kriemann, Matthias Hoch, Christoph Schäfer, Harald Kirchner, Nicolas Giraud, Bertrand Stofleth, Christiane Eisler & Silke Geister, Christian Lange, Jürgen Nefzger;
How can economic processes be conveyed in images? In the 1920s Sergei Tretyakov, one of the most influential authors of the Soviet avant-garde, wrote that the modern world was becoming possible to describe not from the point of view of each human being, but taking economic processes as the starting point. Instead of considering the biographies of people, it was the biographies of things that had to be taken into account. If things were traced on their path towards the world, from their status as raw material to their incarnation as goods, human relationships, points of contact, contradictions and conflicts would be far more intelligible.
Elymus Repens – A proposal by Lucile Bouvard
Bar Babette, Berlin
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
Center for Contemporary Arts, Celje
curated by Katrin Mundt
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
Museum für Gegenwartskunst Siegen in Kooperation mit Bukarest, Belgrad und Brüssel
Kuratiert von Dr. Eva Schmidt
Marianna Christofides, Luc Delahaye, Forensic Architecture, Cyprien Gaillard, Gnaudschun/Heinlein, Anselm Kiefer, Markus Karstieß, Aglaia Konrad, Armin Linke, Richard Mosse, Multiplicity, Abigail Reynolds, Susanne Kriemann, Alexandra Navratil, Unknown Fields of Devision, Paul Virilio u.a.
Die Ausstellung „Landschaft, die sich erinnert“ versammelt Werke, die sich mit Spuren auseinandersetzen, die historische, gesellschaftliche oder politische Prozesse in den europäischen Landschaften hinterlassen haben. Zum einen widmet sich eine große Gruppe der Arbeiten der „Techno-Landschaft“, geprägt durch eine globalisierte Industrie, Bergbau, Urbanisierung und Zersiedelung, die Inseln von „Restnatur“ übrig lassen. Zum anderen werden Arbeiten gezeigt, die eine „Geschichtslandschaft“ vorstellen, die mittels Ruinen und Spuren zu uns spricht.
CCA Wattis Institute for Contemporary Arts, San Francisco
curated by Kim Nguyen, organised by Leila Grothe
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
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
Oliver Baurhenn, Dorothee Bienert, Marisa Maza, Antje Weitzel, Jole Wilcke, Moira Zoitl
Opening: December 1st, 2017, 7 pm
nGbK, Oranienstraße 25, 10999 Berlin
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
Wilfried Lentz Rotterdam
Friday – Sunday 1 – 6 pm and by appointment
Justus van Effenstraat 130, 3027 TM Rotterdam
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
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
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
Exhibition in the streets of the city of Katowice
curated by Sebastian Cichocki
coordinated by Urszula Mikoś
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
Spiegelnde Fenster – Reflexionen von Welt und Selbst
curated by Severin Dünser and Luisa Ziaja
21er Haus, Quartier Belvedere, Arsenalstraße 1, 1030 Wien
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
curated by Martin Schwander
Kunstforum Baloise , Aeschengraben 21, CH-4002 Basel
Open by appointment: email@example.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.
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
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.
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
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
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.
Sirah Foighel Brutmann & Eitan Efrat, Susanne Kriemann, Yutaka Sone
curated by Fabian Schöneich
Why Not Ask Again
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
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)  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
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
The Industrial Age from the Perspective of Art
curated by Lisa Rosendahl
Malmö Konstmuseum, Malmöhusvägen 6, Malmö, SE
The Society Machine examines the image of contemporary Sweden, beginning with industrialization, the cultural transformation which served as the foundation for the world-famous Swedish welfare state. Works by approximately thirty artists are exhibited in dialogue with objects from Malmö Museer’s historic collections. Together, they portray a society fundamentally changed, today in the midst of its next large-scale transformation.
The term industry is used in the exhibition as a prism through which different images of society become visible. From Malmberget in the north to the limestone quarries in the south, we are confronted with clear-cut forests, slag heaps and prefabricated housing units. Industrialization cleared the way for mine shafts and factories, but also for more existential sink holes. Furthermore, the exhibition sheds light on how art has been inspired by the aesthetic possibilities and materials of the industrial age, which time and again have challenged the limits of art.
The modern Swedish welfare state was made possible through a trade-off: industrialization lifted the country out of poverty, while the environment, human bodies and consciousness in return were colonized by the pursuit of productivity and efficiency – for better or worse. For decades Sweden was hailed internationally as modernity’s success story. But what kind of society was really created?
Today we are entering the fourth industrial revolution, a time when the digital, biological and physical worlds are fusing in a way that once again will transform humanity. The Society Machine raises the question if the era of the conveyor belt is truly past, or if the logic of industry has simply been displaced from the factories to instead exist within us.
In the Belly of the Whale
curated by Natasha Hoare and Adam Kleinman
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
Drawing from the story of Jonah and the whale — in which the prophet’s resolve is galvanized while meditating within the belly of the great beast that swallowed him whole — this group exhibition focuses on what it means to be immersed within social histories, and how objects and persons can be transformed through mental and spiritual rumination on context and inscription.
Foregrounding projection, reception, and provenance, artworks, artifacts, and their passage through time and narrative discourses are played off the figure of the cloud chamber—an early twentieth-century device that used water vapor to trace the movement of subatomic particles, laying the ground for the study of particle physics by photographing the patterns these movements produced. Alluding to the cloud chamber’s ability to trace movement and transformation, the works exhibited are ‘objects’ caught in motion, images whose trajectories operate to articulate power structures, official histories and legacies, and other forms of often hidden epistemological acts of violence.
Like fragments or links in a larger system, the collected works here offer perspectives with which to bounce aesthetic concerns against the social environment in which they were birthed or later received. Several works question how artifacts reflect their settings by asking how an object is altered through its changing contexts of display, while others query how an object can alternatively affect reality itself. Eschewing a neat synthesis, this exhibition instead parallels the sense of investigation from within.
ich bin, varım, je suis, Abendrot
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.
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.
In the 1950s and 60s, concrete was regarded as the epitome of modernism. An individual architectural style based on concrete established itself, so-called brutalism (originating from the French word for exposed concrete: béton brut). Brutalist architecture not only distinguishes itself through an expressive application of concrete but through a distinct social element; brutalist architecture stands for social housing, municipal educational establishments, cultural centers, and universities. Aiming to change society, brutalist architecture virtually gave shape to utopia. Today, many of the buildings built at the time are threatened with demolition; they are considered to have failed their purpose. In light of a modernism stained by dystopia, contemporary art once again carve out its original ideas, its euphoria, but also its failure. Not out of a nostalgic longing but for the sake of remembering that architecture was once more than enclosed space, and concrete was not merely a building material but was historically and ideologically charged.
Artists: Kasper Akhøj, Heba Amin, Monica Bonvicini, Mark Boyle, Andreas Bunte, Tom Burr, Thomas Demand, Werner Feiersinger, Karsten Födinger, Cyprien Gaillard, Isa Genzken, Liam Gillick, Annette Kelm, Hubert Kiecol, Jakob Kolding, Miki Kratsman, Susanne Kriemann, David Maljković, Jumana Manna, Ingrid Martens, Isa Melsheimer, Olaf Metzel, Maximilian Pramatarov, Heidi Specker, Ron Terada, Tercerunquinto, Sofie Thorsen, Klaus Weber, Tobias Zielony
Curators: Vanessa Joan Müller, Nicolaus Schafhausen
The Language of Things
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
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)
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.
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
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401 Richmond Street West, Suite 124
Rocks, Stones, and Dust
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
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 1st five-year plan to outdo his Western counterparts in the iron and steel industry. The tapestry depicts multiple fragmented images from the early 20th 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. 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 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?
 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, …
hollow blocks in windowless room
curated by Sebastian Cichocki with Łukasz Jastrubczak
Knoll Galerie, Vienna
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
Animating Archives in Photobooks
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.
18th of September 2015
Attuning One Book
Susanne Kriemann’s first audiobook Attuning One Book (2015) is available online.
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
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
The day will come when photography revises
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
homecomings: PROJECTIVE SPACE
Kurfürstenstraße 13, 10785 Berlin
With Saâdane Afif, Bettina Buck, Samuel Dowd, Eric Ellingsen, Hreinn Friðfinnsson, Hadley+Maxwell, Elín Hansdóttir, Lasse Schmidt Hansen, Karl Holmqvist, Emma Waltraud Howes, Hervé Humbert, Susanne Kriemann, Tanaz Modabber, Egill Sæbjörnsson, Tomás Saraceno, Alvaro Urbano
An exhibition and symposium series curated by Cassandra Edlefsen Lasch and Annabelle von Girsewald
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
Images That Speak
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.
Allegory of the Cave Painting
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.
Alte Fabrik Rapperswil, CH
curated by Alexandra Blättner
Rotterdam in the Picture
Nederlands Fotomuseum Rotterdam
curated by Frits Gierstberg and Joop de Jong