Professor (contemporary art)
Lives and works in Oslo and Berlin
MAIN EDUCATIONAL BACKGROUND:
Winterling studied philosophy/art history in Tübingen and London (aesthetics, feminist film and critical theory and philosophy of consciousness), and Fine Art in Hamburg and Braunschweig until 2005. Winterling is also a founding member of the Akademie Isotrop (founded in 1996, a collective of Hamburg artists, conceived as an experimental learning environment based on a democratic formulation of classes, student-teacher relationships and exhibitions).
MAIN ARTISTIC INTERESTS AND RESEARCH AREAS:
Working across a variety of media and with a constant challenging and questioning of artistic media in society, Winterling is known for her time-based installations that critically engage the representation of realities. Prevailing modernistic concepts, power structures and hierarchical historiographies are captured and investigated in her work in spatial constellations that include 16mm film and video projections, as well as photographs, found and hand-made objects, and mobile devices.
Main interests also include: Faces, surfaces and interfaces: interdependence and independence of science and fiction, technologies and the body, the poetic dimension of contemporary politics’ material forms. What is defined and materialized as nature and the networked nature of artistic and cultural production: Questions on how collective and subjective narratives are visually materialized and manifested. This includes the role of the artist in society. Conversations across disciplines and genres, which embody dialogues with photography, architecture, theory, sound and what is seen as nature. Interweaving methods of (digital) image creation and installation, focusing on various forms of power relations and exchanges, as well as technologies of the future and the past that form politics.
Selected text/image contributions, curatorial projects and collaborations include: Texte zur Kunst, Dec 2012; Objektiv, Dec 2013; «The I is another» in Kritische Berichte 1/1996; Decadrages 21-22, 2013; Stedeljik Museum, «If I cant dance…», 2010; Galerie Meerrettich, 2008; WINTER, Central Asian Pavilion, the 55th Venice Bienniale, 2013; «Art economies beyond pattern recognition» (edited by Ciric/Obrist), Kuenstlerhaus Stuttgart, 2012; «Anfang gut alles gut», Bregenz, 2012.
Websites: http://susannewinterling.de / http://shelterthelighthouse.tumblr.com