Updates

• 09.01.2026 - 28.04.2026

  Lupin, fougére, genêt

  Opening 8.01.2026, 7 pm

  Goethe Institute Lyon

  Scenography: Leia Walz

  ‘Lupin, fougère, genêt’ (lupine, fern, broom) is part of Kriemann’s ‘Pechblende’ (Pitchblende) cycle (since 2014) and deals with the aftermath of uranium mining in Thuringia, Saxony and, more recently, the Limousin.

  The Limousin, the cradle of French uranium mining from 1948 until the late 1990s, is now dotted with artificial lakes that have swallowed the remains of the former open-pit mines. These and other relics, created during environmental remediation in the late 1990s, are now home to an abundance of flora, particularly lupines, ferns and broom. Kriemann took samples of these plants and the contaminated soil to create her photographic works and large-format silk weavings.
  Rather than focusing exclusively on the human protagonists of uranium mining history, Kriemann portrays plants as independent actors, thus challenging anthropocentric perspectives on the post-nuclear landscape of the Limousin region.
  The exhibition, which has been specially designed for the steel-skeleton loft of the Goethe Institute Lyon, features large-format posters that document the remediated landscapes, as well as silks that bring these unique landscapes into the exhibition space in their transformed and scaled form.
  Also on display are books from Kriemann’s ‘Library for Radioactive Afterlife’, which visitors are welcome to read.

• 23.09.2025

  Publishing as Artistic Practice

  Conversation with Jan Wenzel and Susanne Kriemann

  September 23rd, 6pm

  gfzk Galerie für Zeitgenössische Kunst Leipzig

  What is a photograph, and what stories are told by the elements within a photographic image? These are the questions explored by Susanne Kriemann. Her field research leads her to former uranium mining areas in the Ore Mountains and the Massif Central in the south of France, or to a steel mill in Germany’s Siegerland region.

  As part of the exhibition Susanne Kriemann: Knochen, Pech, Natternkopf (Being a Photograph), a collaboration with Camera Austria, the artist talks to publisher Jan Wenzel about her artist’s books and presents two new publications. The reader Susanne Kriemann: Being a Photograph has been published on the occaion of the exhibition in the Edition Camera Austria. It has been designed by James Langdon and brings together texts by Siobhan Angus, Bernadette Bensaude-Vincent, Zippora Elders, Daisy Hildyard, Bhanu Kapil, Kyveli Mavrokordopoulou and Lisa Rosendahl. Her latest artist’s book on her Monte Schlacko, dear Slagorg series will be published by Spector Books in September.

  gfzk.de

• 12.07.2025 - 07.09.2025

  30th Noorderlicht International Photo Biënnale

  Machine Entanglements
  The 30th edition of the Noorderlicht Biennale focuses on the entangled relationship between technology, ecology, and society. The rapid pace of technological progress has a profound impact on biodiversity, social structures, and our shared past.
  With Machine Entanglements, Noorderlicht aims to raise awareness and spark dialogue: how does technology shape our lives, our landscapes, and our collective memory? Visitors are invited to reflect on their own position within these technological transitions.
  Roosje Klap, director of Noorderlicht, explains: “This anniversary edition offers a necessary reflection on the world we live in. The works reveal just how deeply technology permeates our daily lives.”

  Curators: Roosje Klap, Rosa Wevers

  noorderlicht.nl

  Locations:
  Niemeyerfabriek – Groningen
  Museum Belvédère – Heerenveen-Oranjewoud, Friesland
  De Proef – Frederiksoord, Drenthe
  Brouwerij Fortuna – Vlieland, Friesland
  Fortweg 10, Oost-Vlieland

  Participating artists

  affect lab, Chloe Abidi, Clint Baclawski, Crystal Bennes, Noor Boiten, Louis Braddock Clarke, Sara Sejin Chang (Sara van der Heide), Ioana Cirlig, Florinda Ciucio, Grayson Cooke, Sounak Das, Tashiya De Mel, Umberto Diecinove, Beyza Dilem Topdal-İrez, Dawid Dobosz, Chun Hua Catherine Dong, Bart Eysink Smeets, Danny Franzreb, Sophie Gerrard, Diana Gheorghiu, Emma Godfrey Pigott, Nicolas Gourault, Heleen Haijtema, Hendrik Hantschel, Heinrich Holtgreve & Moritz Metz, Hyeseon Jeong & Seongmin Yuk, Susanne Kriemann, Anouk Kruithof, Thomas Kuijpers, Jack Latham, Emilia Martin, Steven Maybury, Victor Mendez, Christoph Miler, Michael Najjar, Mizuho Nishioka, Thomas Nolf, Noviki, Josèfa Ntjam, Hannah O’Flynn, Alice Pallot, Špela Petrič, Polymorf, Sabrina Ratté, Refrakt, Livia Ribichini, misha de ridder, Gjert Rognli, Hedwich Rooks, Sasha Rudensky, Nicolás Rupcich, Sylvia Sanchez, Lena Schabus, Sebastian Schmieg, Niels Schrader & Roel Backaert, Rick Silva, Sondi, Martine Stig, Katja Stuke, Yang Su, Julieta Tarraubella, Telemagic, Stijn Terpstra, Nina van Tuikwerd, Christy Westhovens, Henk Wildschut, Lorenzo Zerbini.

• 11.07.2025 - 05.10.2025

  Knochen, Pech, Natternkopf (Being a Photograph)

  Opening: July 10, 7 pm

  Scenography: Leia Walz
  Graphic design: James Langdon
  Video work: Aleksander Komarov

  Galerie für Zeitgenössische Kunst Leipzig
  gfzk.de

  What is a photograph, and what stories are told by the elements within a photographic image? These are the questions explored by Susanne Kriemann. Her field research leads her to former uranium mining areas in the Ore Mountains and the Massif Central in the south of France, or to a steel mill in Germany’s Siegerland region. Visitors to the exhibition are invited to follow the artist’s investigations and to consider plants, minerals and metals as active agents in the production of images. It begins with footage of Monte Schlacko in Siegen, a slag heap formed as a byproduct of steel production. Its soil, which contains heavy metals, has become a habitat for rare plant species. These plants not only witness industrial production – at the same time they embody it, feeding on its waste products. The photographs and textile artworks created in Saxony, Thuringia and the Limousin region explore the afterlife of radioactive radiation. Using X-ray images and autoradiographs, Susanne Kriemann reveals the traces of uranium in plants growing in former mining areas. She traces connections between materials and forms of energy and existence that reach beyond human life. Pitchblende, the ore from which uranium is extracted, plays a special role: its radiation allows photographic images to be produced without the need for light. The darkness in the middle room of the exhibition space is reminiscent of the subterranean world of mining. Here, mining tools appear as fleeting projections.

  The exhibition is a cooperation with Camera Austria and was shown in Graz from 8 March to 18 May 2025 under the title Susanne Kriemann: Ray, Rock, Rowan (Being a Photograph, curated by Margit Neuhold. It was then expanded for the presentation in Leipzig. The reader is available at the GfZK.

  A reader accompanying the exhibition was published by Edition Camera Austria. Designed by James Langdon, it brings texts by Siobhan Angus, Bernadette Bensaude-Vincent, Zippora Elders, Daisy Hildyard, Bhanu Kapil, Kyveli Mavrokordopoulou, Lisa Rosendahl, and an introduction by Margit Neuhold and Christina Töpfer.

• 04.07.2025

  Being A Photograph

  Book launch
  July 4th, 2025, 6.30 pm
  with James Langdon, Christina Töpfer, Lisa Rosendahl.

  Camera Austria Berlin in Kunstquartier Bethanien
  First floor / Room 137
  Mariannenplatz 2, 10997 Berlin

  The event will take place in English.

  Accompanying the exhibition Ray, Rock, Rowan (Being a Photograph) at Camera Austria, Graz from 8.3. – 18.5.2025.

  With a foreword by Margit Neuhold & Christina Töpfer and texts by Siobhan Angus, Bernadette Bensaude-Vincent, Zippora Elders, Daisy Hildyard, Bhanu Kapil, Kyveli Mavrokordopoulou, and Lisa Rosendahl (eng.).

  Edition Camera Austria, Graz 2025.
  108 pages, 13 × 20 cm, numerous b/w and color illustrations.
  ISBN 978-3-902911-85-8