Ethical Issues

Sonntag, November 13th, 2011

‚Collateral Damage‘

‚Collateral Damage’
Light-Object-Installation, Video, Artist Book
© Susanne Kienbaum 2004

Dimensions: 60x10x10 each of the Light-Objects; overall dimensions variabel
Materials: polypropylene, horsetails, tiles, wood, insect lights

7 light-objects illuminated by insect lights show a total of 100 arabic male and female names. The light-objects are places on an underground covered with tiles. The video loop (55’) is showing (1) a figure from 1 to 100, (2) a foto of the respective name from one of the light objects, (3) the Arabic writing of the name, translation and female / male sign, (4) accompanied by a sharp noise the name is wiped out and the tile underneath is cleaned by a hand covered by a surgical glove until the tile is completely white and shining again, then the circle starts again with the next number and the next name etc…

An artist book is giving some background information on the Iraq war performed before 2004.

Concept | Realization: Susanne Kienbaum
Exhibition ‘Shining Places’, Gebauer Höfe, Berlin-Moabit, 2004

Fotos: © James Carman, Susanne Kienbaum


Donnerstag, Mai 19th, 2011

‚Kambodscha 1975 – Deutschland 2003‘

‚Kambodscha 1975 – Deutschland 2003’
Object-Video-Installation
© Susanne Kienbaum 2003

Dimensions: Little Bed 50 x 80 x 40, little monitor 30 x 20 x 20 cm, overall dimensions variable
Materials: black-painted copper, leather, feathers, little monitor, video loop

In my childhood the symbol and buzzword for crime and cruelty was ‘Kambodscha’. It was not even yet that we started to look television, we just heard grown-ups talking about it and as a child and in my fantasy I imagined cruel images which were unbelievable. – In 2003 I had the opportunity to travel through Cambodia and to make a short film about Tuol Sleng near Pnom Penh, where in a former school which today is a museum a documentation on torture and the cruelties committed by the Pol Pot during the seventies is exhibited to the public. – The subtle connection between the video and the little-bed-and-childhood-installation is just the checked pattern of the mattress cover and the floor of the former school: the typical pattern of colonial style – Cambodia being a former French colony. This checked pattern does raise the question on whether and how our Western societies are somehow and somewhat connected to such incredible genocides and catastrophes happening all-over the so-called third world where only on a first glance Western societies do seem to have nothing to do with.

Concept | Realization: Susanne Kienbaum
Zirngibl und Langwieser, Kurfürstendamm 54-55, D-10707 Berlin

Foto and Videostills: © Susanne Kienbaum


Donnerstag, Mai 19th, 2011

‚Weicher Raum No 1‘

‚Weicher Raum No 1’
Installation | Object | Artist Book
© Susanne Kienbaum 2002

Dimensions: 200 x 400 x 400
Materials: gaze, PVC, feathers, wood, copper, light, water

This 2-m-high object which can be entered with naked feet is referring to the discussion of PID (pre-implantation diagnostics) and is inspired by a couple of newspaper articles referring to frozen embryos and associated law quarrels throughout the world. Once inside the object which is in fact resembling an uterus the spectator can read the writing on the bottom of the water basin: ‘where does art stop and where does life start?’ which is a quotation of Christian Boltanski.  In the artist book which is part of the installation (not shown in the foto documentation) the respective newspaper articles as well as scientific and philosophical input can be found and read according to personal taste.

The installation is together with ‘Rubikon, Rot, Rot’ (->) part of a double installation under the overall title ‘Rot, Rot’.

Concept | Realization: Susanne Kienbaum
Imug: der Galerie SPHN, Koppenplatz 6, D-10115 Berlin

Foto: © Sebastian Dieckmann, Susanne Kienbaum


Donnerstag, Mai 19th, 2011

‚Rubikon, Rot, Rot‘

‚Rubikon, Rot, Rot’
Installation | Artist Book
© Susanne Kienbaum 2002

Dimensions: variable
Materials: 42 balls: 7 made from bronce, 35 from feathers

This installation is referring to the discussion of PID (pre-implantation diagnostics) and is inspired by a couple of newspaper articles referring to frozen embryos and associated law quarrels throughout the world. In the artist book which is part of the installation (not shown in the foto documentation) these newspaper articles as well as scientific and philosophical input can be found and read according to personal taste.

The installation is together with ‘Weicher Raum No 1’ (->) part of a double installation under the overall title ‘Rot, Rot’.

Concept | Realization: Susanne Kienbaum
Imug: der Galerie SPHN, Koppenplatz 6, D-10115 Berlin

Foto: © Sebastian Dieckmann, Susanne Kienbaum



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