The photographs (2004-2006) focus on seemingly incidental scenes that are either charged with meaning or suggest that they possess one. They show a zone of uncertainty in which objects or architectural details seem to speak of contexts that remain external to the photograph itself and are not caught up even via the title. On the contrary, this too adds to the composition of the image like a commentary layer that remains suggestive.
Susanne Kriemann’s photographs often appear as if collaged – different levels of reality seem staggered one behind the other. Yet Kriemann manipulates nothing. Some motifs look as if they were taken in the sixties or seventies. The present slips into these images from the edges, when incidental details refer to today. Susanne Kriemann is also interested in this shift or displacement from the perspective of the visualization of history in monuments on the one hand, and the ephemeral moments of a present that has forgotten history on the other.
(Vanessa Joan Müller)