Intermediate Space

Freitag, November 25th, 2011

‚Barking Dogs’

‚Barking Dogs’
Multimedia-Installation
© Susanne Kienbaum 2011

Dimensions: overall dimensions variable; doors up to 200x50x5 cm each
Materials: sound, doors, paper shredder, tiles, fern

The sound was the originator of this installation: the barking of dogs combined with the chirring of the cicadas…. The walk between walls and doors is becoming even more narrow and stops in front of the last door which is sealed…

Concept | Realization: Susanne Kienbaum
Open Studio | K: S-p-a-c-e Berlin 2011
Fotos: © Susanne Kienbaum


Freitag, November 25th, 2011

‚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, 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 was bought at a huge retail chain and brought back after the exhibition. Thus, overall expenses for this artwork were ony € 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 Radic, Susanne Kienbaum


Sonntag, November 13th, 2011

‚Cocoon | Green Portable Spaces‘

‚Cocoon | Green Portable Spaces’

Installation | Performance

© Susanne Kienbaum 2008-09

Dimensions: 180 x 50 x 50 each
Material: polypropylen, latex garden wire, green suitcase
Performance together with Evelyn Müursepp

Mediascape 2008 and 2009: International Media Artists Meeting, Museum Lapidarium, Novigrad, Croatia

In order to explore the minimum of space adaptable to a human size which still can easily be transported by hand luggage the two portable spaces were in an on-going performance sewed by hand during two summers sitting on the brim of a well in Novigrad. Having finished the two Portable Spaces they were stabilized by inserting meters and were exposed during the exposition Mediascape 2008 and 2009.

In 2009 a performance was performed together with Evelyn Müursepp: the two spaces were carried around the city and their suitability for interaction and giving sufficient shelter was explored.

Fotos: © Susanne Kienbaum, Branka Uzur


Donnerstag, Mai 19th, 2011

‚Intimacy N° 1‘

‚Intimacy N° 1’
Audio-Objekt-Installation
© Susanne Kienbaum 2003

Dimensions: garden house 195 x 120 x 200 cm with feather objects à 160 x 35 x 35 cm each; door 200 x 40 x 90 cm; overall dimensions variable
Materials: feathers, tiles, wooden door frame, rubber gloves

Based on the interview material from 10 men and 10 women of my age on the topic ‘intimacy’ a couple of video works, installations and paper works were generated between 2002 and 2006, one of them being ‘Intimacy N° 1’:

The only access to the installation was through the ‘red door’. A wooden brigde led to the small garden house which could be entered with naked feet and where an installation of hanging feather objects was mounted. While the recipient was standing on the cold tiles the cheeks were softly touched by the feather objects out of them an erotic murmuring could be heard and listened to.

Concept | Realization: Susanne Kienbaum
Studio 63, Auguststrasse 63, D-10117 Berlin

Fotos: © 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

‚Cartas para siete de mis amantes recientes‘

‚Cartas para siete de mis amantes recientes’
Object-Light-Installation
© Susanne Kienbaum 2002

Dimensions: overall dimensions variable, 160 x 15 x 15 cm each
Materials: gaze, PVC, light (mosquito lamps), paper shredder from love letters

Installation from 7 light objects each showing the same illuminated text in the upper part – the love poem from King Salomon – while the gaze tubes are filled with shreddered love letters.

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

Foto: © 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


Donnerstag, Mai 19th, 2011

‚Hannah Arendt: Besuch in Deutschland 1950‘

‚Hannah Arendt: Besuch in Deutschland 1950’
Drawing | Object
© Susanne Kienbaum 2001

Dimensions: 250 x 149 cm
Materials: acryl, paper, collage pieces mounted on self-made cardboard

This drawing and paperwork uses excerpts from an essay written by Hannah Arendt: The essay with the German title ‘Besuch in Deutschland 1950’ was published in 1950 in the United States one year after the first visit of Hannah Arendt in Germany which took place sixteen years after her flight from Nazi Germany. She came to visit Germany in her role as director of the Commision on European Jewish Cultural Reconstruction. During her visit she was writing her 40-pages essay under the title  „The Aftermath of Nazi-Rule. Report from Germany“ which was published one year later in the United States. The German translation was only published 36 years later in the ‘Rotbuch-Verlag’ under the much ‘softer’ title ‘Besuch in Deutschland 1950’, a further translation in 1993, the latter completely under the sign of the end of the GDR and the German reunification. The text collages from 1950 – 5 years after the end of world-war II and Nazi-Germany – cited in this paper work are serving as a reference to the year 2001, approximately 10 years after the incorporation of the former German Democratic Republik (GDR) into the German republik. The collage pieces are derived from the ‘Shelter’-light installation (®) which shows minor language deviations indicating the ‘non-digestion’ of German world-war-II-history in daily life and associated newspaper articles collected during 2001 which was exhibited during the same show.

Concept | Realization: Susanne Kienbaum
Grunewald 79, Grunewaldstrasse 79, D-10823 Berlin

Fotos: © Sebastian Dieckmann


Donnerstag, Mai 19th, 2011

‚Wolfgang Köppen: Tauben im Gras 1950‘

‚Wolfgang Köppen: Tauben im Gras 1950’
Drawing | Object
© Susanne Kienbaum 2001

Dimensions: 250 x 149 cm
Materials: acryl, paper, collage pieces mounted on self-made cardboard

This paperwork uses excerpts from a prosa work written by Wolfgang Köppen in 1950 – 5 years after the end of world-war II – serving as a reference to the year 2001, approximately 10 years after the incorporation of the former German Democratic Republik (GDR) into the German republic. The collage pieces are derived from the ‘Shelter’-light installation (->) which shows minor language deviations indicating the ‘non-digestion’ of German world-war-II-history in daily life and associated newspaper articles collected during 2001 which was exhibited during the same show.

Concept | Realization: Susanne Kienbaum
Grunewald 79, Grunewaldstrasse 79, D-10823 Berlin

Foto: © Sebastian Dieckmann



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