An original Swedish Hasselblad camera is the point of departure for ‘One Time One Million’ (2006-2009). Because the camera dates from 1942, this object launched Kriemann straight back into history. Kriemann succeeds in pushing the concrete politics that adhere to this object into the background. That gives her room to say much more than she would have had a chance to say in a specifically political context: she can bring clusters together in new images, make new connections, rearrange things, tinker around, and thus arrive at new insights.