Updates

  • 09.03.2024 - 26.05.2024
    -162°C, 450kg/m³ – Fossil Energy, Fragile Futures

    Kunsthalle Wilhelmshaven

    Curated by Lena Johanna Reisner

    For overseas transportation, natural gas must be cooled down to -162°C, liquefied and compressed to a density of 450kg/m³. The different materials and substances that play a role in energy production stand front and centre in the exhibition -162°C, 450kg/m³ – Fossil Energy, Fragile Futures. It explores ongoing dependence on fossil fuels, environmental devastation, and the urgent question of securing a liveable future for everyone.

    Wilhelmshaven is currently a locus of German “energy security”, which is being tackled at an unprecedented speed labelled Deutschlandgeschwindigkeit. It was here that, in 2022, Germany’s first terminal for importing liquefied natural gas (LNG) opened, and thus far it has been receiving shipments primarily from the US. This LNG terminal forms the prelude to a series of infrastructure projects intended to turn the region into a future energy hub. These are accompanied by massive incursions into the local environment and ecosystems, parts of which are protected by conservation law.

    Artists: Ayọ̀ Akínwándé, Ana Alenso, Andrew Castrucci, Marjolijn Dijkman, Pélagie Gbaguidi, Sonja Hornung & Daniele Tognozzi, Pepa Ivanova, Susanne Kriemann, Bram Kuypers, Rachel O’Reilly, Oliver Ressler, Miriam Sentler und Joel Sherwood Spring

    https://www.kunsthalle-wilhelmshaven.de/en/exhibitions/162-0c-450-kg-m3-at

  • 06.04.2024 - 11.08.2024
    INTO THE WOODS. Perspectives on Forest Ecosystems

    Kunst Haus Wien

    Curated by Sophie Haslinger

    More than ever, the world’s forests have become monuments to the imbalances found on our planet. Forests filter water and air, and supply resources and food. As habitats for the majority of terrestrial animals, forests are beneficial to human health, and, as vital carbon stores, help stabilize the planet’s climate. Logging and the profit-oriented exploitation of woodlands are accelerating the ecological crisis while climate change fuels deforestation.

    Artistic perspectives on various forest regions of the world—from the Amazon rainforest, to the Embobut Forest in Kenya, to the primeval forests of the Carpathians, to the Swiss pine forests, and to local woodlands—address pressing issues surrounding this sensitive ecosystem. On the one hand, the works in the exhibition engage with human influence on the condition and destruction of forests, and, on the other hand, with the collective and symbiotic nature of the forest ecosystem. Into the Woods speaks to reckless deforestation, the effects of forest monocultures, the tensions that exists between economic forest use and sustainable conservation, the financialization of the climate crisis, the threat to woodlands due to global warming, as well as the ecological processes and complex interrelations at the core of the forest ecosystem.

    Artists
    Rodrigo Arteaga, Anca Benera & Arnold Estefán, Eline Benjaminsen & Elias Kimaiyo, Alma Heikkilä, Monica Ursina Jäger, Markus Jeschaunig, Isa Klee, Susanne Kriemann, Jeewi Lee, Antje Majewski, Richard Mosse, Katie Paterson, Oliver Ressler , Abel Rodríguez, Diana Scherer, Rasa Šmite & Raitis Šmits

  • 01.02.2024 - 29.02.2024
    Note di Sguardi

    Curated by Giovanna Sarti, Sara Bernshausen, Gino Gianuizzi

    Note di Sguardi is a local and international art project in public space. Conceived by the artist and curator Giovanna Sarti it is realized in collaboration with Sara Bernshausen in Berlin and Gino Gianuizzi in Bologna. As an intervention in public space, “Note di Sguardi” is an artistic experiment to link up the neighborhoods in cities that differ in size and character: Zona1 in Cervia, S. Stefano in Bologna, and Pankow in Berlin.
    Every year thirty-six artists, 12 artistic contributions from each city, are asked to select from their photographic archive an image that captures a fleeting moment and has specific meaning within their personal research. In the poster format 70×100 cm, three reproduced images, each from every city, are on display simultaneously for a month in Berlin, in Bologna, and in Cervia.

    Note di Sguardi Susanne Kriemann

  • 03.05.2023 - 07.04.2024
    The Lives of Documents—Photography as Project

    curated by Bas Princen and Stefano Graziani

    CCA
    Canadian Centre for Architecture
    Montreal

    The Lives of Documents—Photography as Project is the first of a trilogy of research and exhibition projects produced by the CCA on the medium of photography—between work of art, research tool, and document—as a means to investigate the built environment. In light of the pioneering efforts the CCA has made since its foundation in redefining the role of photography within the field of architecture as well as within research institutions and collections, the project is conceived as a display of open research where works of authors from the 1970s until today—from the CCA collection and beyond—are presented together with unpublished projects, books, publication mock-ups, interviews, and documents connected to the production of the works themselves.

    The Lives of Documents—Photography as Project embraces the idea of the documentary as an embedded quality of photographic language, and questions the relevance and actuality of photography as a means to interrogate and interpret the mechanisms that are modelling our visible world.

    Authors: Lara Almarcegui; Lewis Baltz; Gabriele Basilico, Stefano Boeri; Bernd and Hilla Becher; Lynne Cohen; Luigi Ghirri; Dan Graham; Jan Groover; Guido Guidi; Naoya Hatakeyama; Takashi Homma; Roni Horn; Douglas Huebler; Annette Kelm; Gert Jan Kocken; Aglaia Konrad; Susanne Kriemann; Sol LeWitt; Armin Linke; Ari Marcopoulos; Gordon Matta-Clark; Richard Misrach; Marianne Mueller; Bruce Nauman; Michael Schmidt; Thomas Struth; Tokuko Ushioda; Jeff Wall; Marianne Wex.

  • 20.02.2024 - 24.05.2024
    Diriyah Contemporary Art Biennale

    Artistic Director: Ute Meta Bauer
    Co-Curators: Wejdan Reda (SA), Anca Rujoiu (RO) and Rose Lejeune (UK)
    Adjunct Curator: Rahul Gudipudi (IN)

    https://biennale.org.sa

    The title, After Rain, opens up a moment of revitalization and renewal, introducing the 2024 Diriyah Contemporary Art Biennale as a nurturing entity, filled with life, while acknowledging the necessity of water for all forms of life that dwell and seek shelter on our planet. Unfolding as a combination of practices such as inhabiting, cultivating, harvesting, searching, and sharing, this Biennale presents works that engage with the human-nature continuum, examine the built environment, observe the state of our surrounding landscapes, recount histories, and encourage us to listen more closely. Conceived as a vital entity rather than a static framework, the Biennale welcomes processes, dialogues, performances, and communal meals. The Biennale is a process shaped by first-time meetings and collaborations

Archived updates

  • 09.03.2023 - 29.05.2023
    MINING PHOTOGRAPHY. THE ECOLOGICAL FOOTPRINT OF IMAGE PRODUCTION

    curated by Esther Ruelfs and Boaz Levin

    Kunst Haus Wien

    kunsthauswien.com

    At the exhibition, historical photographs, contemporary artistic positions and interviews with experts tell the story of art photography from the perspective of its industrial production. Where, for example, did the copper come from that was used for Hermann Biow’s famous daguerreotype of Alexander von Humboldt? Showcasing 170 works, the exhibition impressively illustrates how, ever since its invention, the medium of photography has contributed to man-made changes in nature – and continues to do so to this day. From the very outset, the production of photographs has depended on the extraction and exploitation of natural raw materials. In the 19th century, salt, copper and silver were used to create the first images on copper plates and for salt prints. Following the advent of silver gelatine prints, the photography industry became the most important consumer of silver in the late 20th century, accounting for more than half of global consumption. Today, in the age of smartphones and digital photography, image production relies on rare earths and metals such as coltan, cobalt and europium. The storage of images and their dissemination also produce large quantities of CO2.

    Ignacio Acosta, Eduard Christian Arning, Lisa Barnard, Hermann Biow, F&D Cartier, Klasse Digitale Grafik – HFBK Hamburg (Mari Lebanidze, Miao ‘Cleo’ Yuekai, Leon Schweer und Marco Wesche), Oscar und Theodor Hofmeister, Susanne Kriemann, Honoré d’Albert de Luynes und Louis Vignes, Jürgen Friedrich Mahrt, Mary Mattingly, Charles Nègre, Optics Division of the Metabolic Studio (Lauren Bon, Tristan Duke und Richard Nielsen), Madame d’Ora, Lisa Rave, Hermann Reichling, Alison Rossiter, Daphné Nan Le Sergent, Robert Smithson, Anaïs Tondeur, James Welling, Noa Yafe, Tobias Zielony

  • 15.07.2022 - 31.10.2022
    MINING PHOTOGRAPHY. THE ECOLOGICAL FOOTPRINT OF IMAGE PRODUCTION

    curated by Esther Ruelfs and Boaz Levin

    Museum für Kunst und Gewerbe Hamburg

    https://www.mkg-hamburg.de

    “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

    In cooperation with Kunsthaus Wien, Gewerbemuseum Winterthur and the HFBK Hamburg.

     

  • 10.06.2022 - 14.08.2022
    Takeover

    curated by the children of 48. Grundschule, Pankow , Carl-Humann-Grundschule, Prenzlauer Berg , Heinrich-von-Stephan-Gemeinschaftsschule, Moabit

    guided by Julia Moritz and Jennifer Streter

    Gropius Bau Berlin

    https://www.berlinerfestspiele.de

    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, .

     

  • 10.09.2021 - 24.04.2022
    Mind Bombs. Visual Cultures of Political Violence

    Curated by Dr. Sebastian Baden

    Kunsthalle Mannheim

    https://www.kuma.art

    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.

    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 Zeckai.

  • 13.09.2020 - 31.12.2022
    In the SS-Auxiliary – The Female Guards of the Ravensbrück Women’s Concentration Camp

    co-conceived by Dominique Hurth

    www.ravensbrueck-sbg.de

    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.

     

     

  • 01.12.2021 - 18.03.2022
    BEUYS OPEN SOURCE

    Belmacz

    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.

    http://belmacz.com