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Duskdust
Susanne Kriemann [see all titles]
Sternberg Press [see all titles] Monographs and artists' books [see all titles]
Susanne Kriemann Duskdust
Edited by Susanne Kriemann and Lívia Páldi.
Texts by Kirsty Bell, Lívia Páldi, Jussi Parikka, Maria Barnas.

Graphic design: Yu-Yeon Cho.

Published with BAC – Baltic Art Center, Visby.
published in June 2016
English edition
18,4 x 29,7 cm (hardcover)
86 pages (color ill.)
€19.00
ISBN: 978-3-95679-236-6
EAN: 9783956792366
in stock
 
A photographic artist's book focusing on a former cement factory in Sweden. Kriemann's concern with archaeology, archival materials, and lost narratives is once again affirmed in this publication which came as the result of a residency program in Gotland Island and for which she collaborated with poet Maria Barnas and writer Kirsty Bell, among others.
Duskdust is an artist book by Susanne Kriemann. It takes as its starting point the former industrial site of limestone mining at Furilden peninsula on the northeastern coast of Gotland, Sweden's biggest island. It is informed by the artist's ongoing preoccupation with photography, labor, and archaeology and includes photographs taken during her residencies and site visits, archival material as well as text contributions by invited authors. Writer Kirsty Bell traveled to Gotland to follow the artist's research trails while media theorist Jussi Parikka situates Kriemann's artistic approach within current discourse on geology and media. Maria Barnas wrote a poem based on Kriemann's walk through a tunnel at the industrial site. Lívia Páldi, director of BAC – Baltic Art Center in Visby, Sweden gives an introduction to The Site Residency program and the specifities of selected sites in relationship to Kriemann's work.
In her photographic projects, Susanne Kriemann (born 1972 in Erlangen, Germany, lives and works in Rotterdam and Berlin) takes a research-oriented approach: dealing with archival and forgotten documents in particular is a central aspect to her work. The found photo material then frequently serves as a starting point for her own images. Formal or thematic analogies generate multifaceted layers of association, which address the circumstances in which the historical images were produced, their preservation, as well as their link to the present day—and always also examine her own medium of photography.