About

After studying photography in Bielefeld, a semester abroad in Melbourne and a longer stay in Tokyo, I moved to Berlin in 1999, where I have been living as an artist and photographer ever since. Together with seven other artists I founded and built up "Loris - Galerie für zeitgenössische Kunst" between 2007 and 2012. Since 2006 I have been teaching photography and visual media at Lette Verein.

Statement

It is the idea of something, the idea of how something has to be or may be, that sometimes prevent us from really seeing what IS. We only see what coincides with our experiences. In my conceptual work, I focus on the non-visible, the emotional, the psychological, in order to approach real circumstances. The concept as an orientation of my sensors, as a filter between me and the world, as a construction aid, as a dissection instrument. In a way, my works are very precise, clear and demanding. In another way, they are a constructivist formation that first emerges in my head and then in the form of images and installations poses questions, irritates, stands in the way. My largely staged and constructed visual worlds revolve around themes such as security, control, isolation and latent emotional states. The current focus of my artistic research is the search for meaning, the desire to expand consciousness and spirituality as tendencies of a Western reality. I am fascinated by the visualization of immediate state experiences through spontaneous stagings of people and things. Combined with aspects of silence and timelessness, my images as visual constructions explore the invisible border space between the inner and outer world and tell of perception and experience at the border between self and world.

Education

  • 1999 - 2000 | „Kommunikationsdesign“, Kunsthochschule Berlin-Weissensee, Berlin (DE)
  • 1997 | “Photography“, Royal Melbourne Institute of Technology, Melbourne (AU)
  • 1993 - 1999 | „Fotografie“, Fachhochschule Bielefeld, Bielefeld (DE)

Institution (Work Experience)

  • 2015 - 2016 | Fotografie-Workshops in Kerala, Goethe Institut Bangalore, Indien (IN)
  • 2011 | Gründung der Künstlerkooperation „Benten Clay“ (FI)
  • 2007 - 2012 | Gründung und Aufbau „Loris – Galerie für zeitgenössische Kunst“, Berlin (DE)
  • 2006 - heute | Fachlehrerin für Fotografie und Bildmedien, Lette Verein Berlin (DE)
  • 1999 - heute | Freiberufliche Tätigkeit als Fotografin (DE)

Selected Awards

  • 2008 | „Hasselblad Masters Awards“, Semi-Finalist (SE)
  • 2008 | „Foto Doks-Preis", Nonfiktionale, Bad Aibling (DE)
  • 2006 | „Nominierung: Körber-Foto-Award“, Hamburg (DE)
  • 2000 | Stipendium „Zeitgenössische Deutsche Fotografie der Alfried Krupp von Bohlen und Halbach-Stiftung“ (DE)
  • 2000 | Auszeichnung „Reinhart-Wolf-Preis“ (DE)
  • 1999 | „Kodak-Nachwuchs-Förderpreis“ (DE)
  • 1999 | Auszeichnung: „Aenne-Biermann-Preis“ (DE)

Selected Exhibitions/Publications

  • 2017 | Haus am Kleistpark, Berlin (DE)
  • 2017 | Pepperhouse Residency Exhibition, Kochi-Muziris Biennale, Kochi, Indien (IN)
  • 2015 | Athens Photo Festival, Benaki Museum, Athen, Griechenland (GR)
  • 2014 | Die Bielefelder Schule – Fotokunst im Kontext, Bielefeld (DE)
  • 2014 | Re-Culture III, Patras, Griechenland (GR) - Benten Clay
  • 2012 | Loris – Galerie für zeitgenössische Kunst, Berlin (DE) - Benten Clay
  • 2011 | Nikon-Salon, Tokio (JP)
  • 2010 | Loris -Galerie für zeitgenössische Kunst, Berlin (DE)
  • 2009 | Wuhan, China (CN)
  • 2009 | Galerie Altes Rathaus Musberg, Leinfelden–Echterdingen (DE)
  • 2007 | Haus der Photographie, Deichtorhallen Hamburg (DE)
  • 2003 | Museum Folkwang, Essen (DE)
  • 2003 | Museum of Art Arsenals, Riga, Lettland (LV)
  • 2003 | Contemporary Art Center Vilnius, Litauen (LT)

Personal Website

http://www.sabine-schruender.de

Galleries

Sabine Schründer | Pavilion (2015 - 2017)

Sabine Schründer | Pavilion (2015 - 2017)

The search for meaning, the desire to expand one's consciousness and spirituality are part of a western trend that has become the starting point for artistic research here. On the traces of centuries-old philosophies and meditation practices, photographs were taken that consciously renounce a preconceived concept. In the interaction and encounter with the foreign culture, meditative images were created that tell of perception and experience at the border between self and world.

Format:

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Sabine Schründer | Ellipses (2010)

Sabine Schründer | Ellipses (2010)

[greek: Èlleipsis = - absence, - recess, - omission (especially amidst something)] Abundance, consumption and data supply constantly suggest abundance and prosperity, which in the end, however, go hand in hand with lack of content, isolation and loneliness. The workgroup ELLIPSES reflects this state and presents irritating images emptied by retouching, whose recesses become speculative empty spaces. Montage and replication of individual picture elements make the objects float in aloof in front of a monotonous background, so that a world emerges in which the idea of real space and the individual's ability to experience seems to have been lost.

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gallery

Sabine Schründer | Eva-05 (2008 - 2009)

Sabine Schründer | Eva-05 (2008 - 2009)

The social status quo with its given structures, as well as dynamics between collective and individuals, form the starting point of the workgroup Eva-05, in which the media of photography and video are brought together by installation. A block from a group of monitors allows the images of individual persons - each isolated - to flicker on the screens, forced to remain silent in strange poses. The anonymous figures are juxtaposed with reduced, metaphorically charged images from urban space. Both strands of the work elude narrative approaches and instead lead into a multi-layered structure of suspicions, symbols and signs.

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gallery

Sabine Schründer | intrude (into) (2007)

Sabine Schründer | intrude (into) (2007)

[in´tru:d] squeeze in; penetrate; (to) push in (into in) Many dangers are not very tangible. Nevertheless, threats are perceived as real because their reality is also suggested by the media. Thus "phantom fears" arise, not least as a result of institutional manipulations, which feed partly on specific, but far more frequently on diffuse, constructed scenarios. A feeling of permanent subjective threat emerges, which seems to come from inside and outside. Security becomes an unattainable illusion, but at the same time it is the highest good in the trade with fear. The series intrude (into) mirrors this complex with an associative web of images, in which instruments and apparatus combine with motifs from nature. Through digital manipulation and detachment from the original context, an imaginative field emerges between aesthetic temptation and subliminal discomfort.

Format:

gallery