Une vaste synthèse des recherches artistiques et conceptuelles de Henrike Naumann, l'une des voix les plus marquantes de sa génération, décédée à l'âge de 41 ans peu avant l'inauguration de son projet pour le pavillon allemand de la 61e Biennale de Venise.
This publication is an independently released collection of materials relating to Henrike Naumann's contribution to the exhibition RUIN in the German Pavilion at this year's Venice Biennale (curator: Kathleen Reinhardt; artists: Henrike Naumann, Sung Tieu).
It has no clear beginning or end. As one 'forever' turns the pages along the spiral binding, new connections emerge, fragments and meanings shift, and what has been seen appears different in repetitions. Clear interpretations elude the reader. The compiled material is both contextualizing and bewildering at the same time. It is 'uncomfortable', much as Henrike Naumann described her work in the pavilion. What emerges is a dense artistic practice that could not be consciously brought to a close, but is instead defined by an abrupt ending.
As a collection of material, various elements and approaches from the entire working process are brought together. Firstly, the hieroglyphs, which Henrike Naumann described as a glossary and a sign system in her own right, partly accompanied by texts by Clemens Villinger. Added to this is the extensive 'masterplan.key', a document that she constantly updated, and began working on over a year ago to collect ideas and connections. It helped her to develop conceptual approaches and disruptions, as well as to visualise her notes and thought processes drawn from the sketches and her intensive research. Among these is the first conceptual draft from the application procedure.
Much like her practice of 'concept papers', Henrike used 'masterplan.key' as an internal conceptual document in which she developed collages and manipulations to bring the material and the overlapping contexts 'under control'. The page size of the document is based on the laptop screen in front of which one sat with her whilst she clicked through one of her Keynote presentations to explain the artistic process in a project.
The collection also includes Naumann's conceptual text sketches and a text by Kerstin Stakemeier. In addition, there are individual photographs of the hieroglyphs, taken whilst they were still in Naumann's studio, as well as exhibition views from Venice. The artist Johannes Büttner developed the conceptual and graphic design of the publication.
The collection of materials had not originally been planned by Henrike Naumann. The editors decided to publish it shortly before the opening in order to build on the approach she had adopted – that of bringing ideas, approaches and research to light – which she had embarked upon with the metal folder CONCEPTS. Communicating and mediating the work widely has always been particularly important to her; the disclosure of her lines of research and thoughts relating to her pavilion contribution seeks to support this motivation as effectively as possible.
The result is an open document that provides insight, but above all challenges the reader and provokes to further continue these approaches.
Henrike Naumann (1984-2026) est une artiste allemande dont le travail porte sur des problématiques sociopolitiques à travers le design et l'aménagement intérieur, et explore les tensions entre des opinions politiques opposées lorsqu'il s'agit de goût et d'esthétique personnelle au quotidien. Dans ses installations immersives, elle agençait ce des meubles et des objets pour créer des espaces scénographiques dans lesquels elle intègrait des œuvres vidéo et sonores. Sa pratique met en lumière les mécanismes de radicalisation et leur lien avec l'expérience personnelle. Son parcours artistique s'est accompagné de nombreuses conférences et collaborations interdisciplinaires qui abordaient les questions inhérentes à son œuvre.
Henrike Naumann a reçu de nombreux prix, notamment la bourse Karl Schmidt-Rottluff, le prix Max Pechstein de la ville de Zwickau, le prix artistique de la Leipziger Volkszeitung et la bourse de la Villa Aurora / Maison Thomas Mann, à Los Angeles. D'importantes expositions de ses œuvres ont eu lieu au SculptureCenter de New York, au musée Busch-Reisinger de Harvard, au MoMA de Varsovie, au Mémorial du Mur du Bundestag allemand, ainsi qu'à la Biennale du Ghetto en Haïti et à la Biennale de Kiev en Ukraine.
