Susanna Hertrich (D) is a multi-disciplinary artist working at the intersection of art and technology. Her works investigate the liminal space between the visible world and those things that normally remain hidden. Her objects demonstrate an expanded sense of reality. In a seemingly mundane context, they celebrate moments of the »strangely familiar.«
In her artistic research, she invents wondrous devices and fantastical wearables that subtly satirise our present reality. These body prostheses articulate social criticism as well as showing an outlook into an alternative future.
Susanna Hertrich is a multi-disciplinary artist working and living in Berlin and Basel. She studied at the Peter Behrens School of Art in Düsseldorf and Tokyo University of the Arts. She received an MA degree from the Royal College of Art in London (2008). Her artistic research investigates the role of the physical body in relation to a technology-driven environment. She has been working with the Meta-Perception group at the University of Tokyo and the Design Research Lab at the University of the Arts in Berlin among others. Next to her artistic practice she is a research fellow at the Institute of Experimental Design and Media Cultures at the Academy of Art & Design in Basel FHNW, Switzerland conducting an SNF-funded project »The Sensorium of the Animals« (in collaboration with Shintaro Miyazaki).
Susanna is a recipient of numerous grants and was an invited artist in residence at the Goethe Institute’s Villa Kamogawa in Kyoto (2015), Tsinghua University Art & Science Media Laboratory in Beijing (2012) and Tokyo Wonder Site (2012). Her works are exhibited internationally, including Haus der Kulturen der Welt (Berlin), Marta Herford, CAFA Art Museum (Beijing), FACT (Liverpool), Emaar Pavilion Gallery (Dubai), EMAF European Media Art Festival (Osnabrück), NODE Digital Arts Forum (Frankfurt), La Triennale di Milano and EMPAC (Troy, New York).
Susanna has been a visiting professor at Chiba University in Japan, Anhalt University in Dessau, Academy of Art and Design in Basel and she has been teaching as Associate Professor at Bergen Academy of Art & Design in Norway, next to other appointments.
»Climates: Architecture and the Planetary Imaginary«, Lars Müller Publishers, Zürich, 2016, p. 205
»Anatomy of a Fairytale« — Andreas Greiner, Verlag für moderne Kunst, Vienna, 2016, p. 195
»The next big things is not a thing«, exhibition catalogue, Bureau Europa, Maastricht, 2016
Won, J. ,»From Design 2«, Colon Publishers, Gyeonggi, 2016
McAlhone, B. et al., »A Smile in the Mind«, 2nd Edition, Phaidon London, 2016
Marzalkowski, T., »Prothesen als Thesen«, Frankfurter Allgemeine Zeitung, 25.11.2015
»In.Stability«, exhibition catalogue, Institute of Design, Kielce, 2015, p. 70-71
Mareis, C., »Theorien des Designs. Zur Einführung«, Junius Verlag, Hamburg, 2014
Sandu Publishing, »The Art of Calendar Design«, Sandu Publishing Co., Guangzhou, 2015, p. 9
»Intimacy«, exhibition catalogue, Paraflows Festival, Wien, 2014, p. 33-44
»Vom Tagebuch bis zum Weblog. Tägliche Stratgien in der Gegenwartskunst«, exhibition catalogue, Städtische Galerie Bietigheim-Bissingen, 2013, cover, p. 54-55
»O’clock«, exhibition catalogue, CAFA Art Museum, Beijing, 2013, p. 111
»Wheel of Time. Calendar Design«, Design Media Publishing Ltd., Shenyang, China, 2012
Marta Herford et al., »Jetzt. Now.«, Kerber Publishers, Bielefeld, 2011, p. 52-53
Péus, C., »Zeigen, wie die Zeit vergeht«, Art Das Kunstmagazin, Number 10/2011, p. 108
Gardner, Edwin, Monnik, »Still City Glossary«, Too Much Magazine, September 2012, p.13, 24
Schwartzman, M., »See yourself sensing., Black Dog, London, 2011, p. 10
Boudier, L., »Les objets fous d’artistes«, Éditions Hoëbeke, Paris, 2011, p. 84-85
Basheer Graphic Group, »Creative Calendars«, Links Intl., 2010, cover, p.196
Klooster, T.,»Smart Surfaces«, Birkhäuser, Zürich, 2010, p. 41
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