‘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 longterm emergency that is ignored in favour of the more visceral spectacles of burning towers, tsunamis, volcanic eruptions, and fallen bodies.’ (Kim Nguyen)

The exhibition is composed of several interrelated elements opening up a conceptual system of photographic processes. The different parts of the installation expand in the spatial structure: solar light panels, responding to outside’s conditions of sunshine and connected to lightbulbs suspended to the gallery floor. Dyed and woven pieces of raw silks hang in the gallery space. The floor holds a number of archival carton boxes, which are partly printed and sometimes contain objects like wool, bone, dried mushrooms, other. The walls display a series of heliogravures depicting weed. Along the duration of the exhibition, a series of autoradiographs are produced in the California Academy of Sciences.




Susanne Kriemann, Canopy, canopy, 2018; installation view, Wattis Institute; Photo: Johnna Arnold


Picture 1-4: Susanne Kriemann, Canopy, canopy, 2018; installation view, f/stop - Festival für Fotografie, Leipzig; Photo: Ulf Beck and Dotgain
Picture: 5-6: Susanne Kriemann, Canopy, canopy, 2018; installation view, Pochen-Biennale in Chemnitz; Photo: Mark Frost
Picture 7-11: Susanne Kriemann, Canopy, canopy, 2019; installation view, 10th Göteborg International Biennal for Contemporary Art
Photo: Hendrik Zeitler, Courtesy Göteborg International Biennial for Contemporary Art, Other: Susanne Kriemann
Picture 12-13: 'Canopy, canopy' and 'Gessenwiese, Kanigsberg', 2019; installation view, Vom Leben in Industrielandschaften, Museum Düren