Stiftung Brandenburgische Gedenkstätten Mahn‑ und Gedenkstätte Ravensbrück

A preview into the work of Susanne Kriemann

„... like a coat, that can't be taken off“ 
(from: Susanne Ayoub, The Girl from Ravensbrück)

The former residential buildings of the non-commissioned officers adjacent to the Memorial Museum Ravensbrück today suggest a leaden equanimity. Affected by different historical layers, the rot has already set in. At the same time, the terrain is subject to the comings and goings of a rare biodiversity, that grows over references, history, trauma. Thus, whilst history transforms into feral nature, the suspicion creeps in that these houses, at one point or another, will once again become “projects” by those in search for new developments.

For the exhibition at the house of the female guards, photographer Susanne Kriemann places special emphasis on the superimposition of geological and historical layers. What becomes manifest: There is no end to documentation, since societies, places, and narratives alike are in a constant state of flux. Conversely, this process of transformation may operate like an image generator in its own right. Based on the artist's extended definition of document, materials deriving from such scenarios can become an active part in the respective technology of image production. In the context of this exhibition, Susanne Kriemann created photographs of the architectural structures and their decay, which were then translated into a series of silk screens. Embedded in these are pigments especially produced for this project. They are extracted from broken bricks, tiles, and stones of the officers' and female guard's houses. In addition, and as a result of a field study that will last several days, the “red wood ant” and other less visible inhabitants of the terrain will be brought to the fore – entrusted with a share of terrain's history and future evolvement.

Susanne Kriemann has exhibited internationally, amongst at Witte de With, Rotterdam; Prefix ICA, Toronto; 21er Haus, Vienna; Arnolfini, Bristol; Berlinische Galerie; Stedelijk Museum, Amsterdam; as well as in the context of various biennials and festivals, such as the 11th Shanghai Biennial, the 10th Gothenburg Biennial and Colomboscope, Colombo.