The book is comprised of texts on Susanne Kriemann's practice and its relation to the concept of Reading in a wider sense: reading photographs, archives, and texts and transforming these into new compositions with photography, urban space, and historiography.
The essence of Susanne Kriemann's intermedial and intertextual work is expressed in her photographic installations and corresponding artist books whose formats reflect their particular contents that revolve around historically definable objects. Kriemann's exhibitions in particular reveal the process-oriented nature of her works, where the elements are constantly rearranged and undergo conceptual transformation. Throughout this process the book takes on a decisive role in her work, with its structure, its history, its contents and its form.
The book is comprised of texts on Susanne Kriemann's practice and its relation to the concept of Reading in a wider sense: reading photographs, archives, and texts and transforming these into new compositions with photography, urban space, and historiography. Nine authors have approached intertextuality's various manifestations and meanings and in doing so, confront the notion of reading (of text, image, object, context). The authors trace the permeation of the intermedial in Susanne Kriemann's work in various ways. Quotes from writers, scientists and journalists dispersed throughout the book touch on themes present in the Susanne Kriemann's work, both deepening as well as linking it to the current discourse of art in general.
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.