Material

Sonntag, November 13th, 2011

‚Rice-Water-Salt‘

‚Rice, Water, Salt’
Light-Object
© Susanne Kienbaum 2007

Dimensions: 25x25x10 cm
Materials: rice paper, acryl, glass, wood
Edition: 7

I was invited to Kioskshop Berlin for the Intervention XXIII.

Referring to wax which is main material of Semjon I used rice paper which has the same appearance but the opposite flexibility: in opposite to wax rice paper breaks easily, in opposite to wax it is ‘hygrophil’ (it attracts water and is going to be destroyed by water).

The rice paper was fixed via acryl glass and fixed within a wooden frame.Therefore the rice paper became the appearance as if it would be floating in the air.

Concept | Realization: Susanne Kienbaum
Kioskshop 2007


Sonntag, November 13th, 2011

‚Rice, Water, Salt‘

‚Rice, Water, Salt’
Site-specific Object-Installation
© Susanne Kienbaum 2007

Dimensions: overall dimensions variable; 7 columms à 280x13x13, 3 columns à 2870x10x10
Materials: rice paper, rubber tube, threat

I was invited to Kioskshop Berlin for Intervention XXIII.

Referring to wax which is main material of Semjon I used rice paper which has the same appearance but the opposite flexibility: in opposite to wax rice paper breaks easily, in opposite to wax it is ‘hygrophil’ (it attracts water and is going to be destroyed by water).

The columns were knotted via threat and hung from the ceiling.

Concept | Realization: Susanne Kienbaum
Kioskshop 2007


Dienstag, Oktober 19th, 2010

‘Transient Survival Spaces N°1 & 2′

‚Transient Survival Spaces N°1 & 2’
Multimedia-In-Situ Installation
© Susanne Kienbaum 2009

Dimensions: 200x 180x 110 each
Materials: wire screen, paper shredder, moss shredder, tiles and hand-writing

Concept | Realization: © Susanne Kienbaum
Concent Art, Kreuzbergstrasse 28, D-10965 Berlin

In order to illustrate the gap between high investments and low outcome of multimedia art installations the work tried to illustrate this issue by achieving the maximum size of an artwork for a minimum of investments: paper shredder and moss were recycled from personal waste for the exhibition, the wire screen was bought at ‚Bauhaus‘ – a retail chain for building and contruction – and brought back after the exhibition. Thus, overall expenses for this artwork were approximately only € 48,00. The work was accompanied by a cynical text written on the tiled walls: naming the artist’s production process including budgeting, overall art marketing and business, illustrated by a photo of Carl Spitzweg ‘the poor poet’.

Foto: Nika Radíc, Susanne Kienbaum



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