Author Archives: Stephanie Kiwitt

Flächenland (2020-2022)

Flächenland (2020 – 2022), Spector Books, 2023

448 + 16 pages supplement, 492 colour images, hardcover, 23 x 30 cm
text: Jonathan Everts, Daniel Herrmann, german/english, design: Markus Dreßen, Spector Bureau
ISBN: 9783959057929, https://spectorbooks.com/book/stephanie-kiwitt-flaechenland

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The title Flächenland is a reference to the geographical term, alluding to the urban sprawl in rural areas that the majority of people in Saxony-Anhalt live in. Stephanie Kiwitt took these atmospherically dense photographs while travelling through the state: on walks, from her car, or from the train. They show glimpses of towns, villages, and landscapes, often put together as sequences that communicate a shift in perspective or convey movement or a sense of getting closer. Kiwitt’s images describe a living space that has been hugely influenced by economic and social processes and is in an ongoing process of transformation. The photos give visual expression to political statements and signs of continuous structural change.

In the booklet accompanying the images, Jonathan Everts and Daniel Herrmann use Kiwitt’s photographic work as a means to reflect on the present and future of urban agglomerations and rural areas in Saxony-Anhalt.

Flächenland, Fortlaufend
exhibition Flächenland, Fortlaufend, Museum Schloss Köthen, 2023/24<br />
foto: Falk Wenzel exhibition Flächenland, Fortlaufend, Museum Schloss Köthen, 2023/24<br />
foto: Falk Wenzel exhibition Das Land, Kunstmusem Magdeburg, 2022<br />
curated by Annegret Laabs and Uwe Gellner<br />
foto: Johannes Ernst exhibition Das Land, Kunstmusem Magdeburg, 2022<br />
curated by Annegret Laabs and Uwe Gellner<br />
foto: Johannes Ernst exhibition Das Land, Kunstmusem Magdeburg, 2022<br />
curated by Annegret Laabs and Uwe Gellner<br />
foto: Johannes Ernst exhibition Das Land, Kunstmusem Magdeburg, 2022<br />
curated by Annegret Laabs and Uwe Gellner<br />
foto: Johannes Ernst exhibition Das Land, Kunstmusem Magdeburg, 2022<br />
curated by Annegret Laabs and Uwe Gellner<br />
foto: Johannes Ernst Fortlaufend - Scha. 12/22, 2023<br />
pigment print Fortlaufend - Gate. 06/23, 2023<br />
pigment print Fortlaufend - Scha. 08/23, 2023<br />
pigment print<br />
Fortlaufend - Irxl. 08/23, 2023<br />
pigment print Flächenland, 2020-22<br />
pigment print Flächenland, 2020-22<br />
pigment print Flächenland, 2020-22<br />
pigment print Flächenland, 2020-22<br />
pigment print Flächenland, 2020-22<br />
pigment print Flächenland, 2020-22<br />
pigment print Flächenland, 2020-22<br />
pigment print Flächenland, 2020-22<br />
pigment print Flächenland, 2020-22<br />
pigment print Flächenland, 2020-22<br />
pigment print Flächenland, 2020-22<br />
pigment print Flächenland, 2020-22<br />
pigment print Flächenland, 2020-22<br />
pigment print
S. ANDERS LEBEN. EINE HANDLUNG IN GESPRÄCHEN
S. Anders leben. Eine Handlung in Gesprächen, text projection, 2023 S. Anders leben. Eine Handlung in Gesprächen, text projection, 2023 S. Anders leben. Eine Handlung in Gesprächen, text projection, 2023 scenic reading installation view installation view installation view 21.4.2023, photograph
CLOSE IN OPEN
Close in open, P5, curated by De Cleene De Cleene, 019, Ghent, 2019<br />
foto: Michiel De Cleene Close in open, P5, curated by De Cleene De Cleene, 019, Ghent, 2019<br />
foto: Michiel De Cleene Close in open, Parking # 4-6, pigment prints, 140 x 80 cm, 2019<br />
foto: Michiel De Cleene Close in open, Parking #1, pigment print, 140 x 80 cm, 2019 Close in open, Parking #1, pigment print, 140 x 80 cm, 2019 Close in open, text projection, 12 min, 2019<br />
foto: Michiel De Cleene Close in open, text projection, 12 min, 2019<br />
foto: Michiel De Cleene Close in open, text projection, 12 min, 2019<br />
foto: Michiel De Cleene Close in open, text projection, 12 min, 2019<br />
foto: Michiel De Cleene Close in open, text projection, 12 min, 2019<br />
foto: Michiel De Cleene Close in open, text projection, 12 min, 2019<br />
foto: Michiel De Cleene Close in open, text projection, 12 min, 2019<br />
foto: Michiel De Cleene tyreprint, carbon on paper, 600 x 280 cm, 2019
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During four weeks, Stephanie Kiwitt resided in 019 in Ghent, visited the surrounding parking lots on a regular basis, stayed to observe the dynamics within a very defined and universal space. Starting, halting, moving – presence, leftovers, absence.

‘Close in open’ is the fifth instalment of P, a series of exhibitions and events on the idea, the functioning and the aesthetics of the parking lot, curated by De Cleene De Cleene. As an area where cars or other vehicles can be left temporarily, the parking lot is a site that stockpiles potential. It is an aside to the road and to the romantic idea of travel, and a necessary counterpart to the modern preoccupation with speed. It is a secondary place that often goes unnoticed, a landscape at the service of a department store, an amusement park, a factory, a journey. Once an ‘enclosed preserve for beasts of the chase’, it has become an increasingly questioned, regulated yet volatile landscape. It is a patchwork incessantly formed by aesthetic, functional, ecological, political and economic strategies. It is a place of temporary stagnation at the service of movement, a grid that gathers and structures objects, people and stories in a continuously changing puzzle.

The line that connects A to B, pauses at P.

Aanwervingslokaal
Aanwervingslokaal, pigment print, 2018 from the series Aanwervingslokaal, pigment print, 2018 Exhibition view Touch, nGbK, curated by Nadja Quante, Anna Voswinckel, Berlin, 2018<br />
foto: Barbara Proschak Aanwervingslokaal - Wachten, pigment prints, glass, 2018 Aanwervingslokaal - Aanwerven, pigment prints, glass, 2018 Aanwervingslokaal - Afscheidsparty, pigment prints, glass, 2018 Aanwervingslokaal - Gebouww, pigment prints, glass, 2018 Aanwervingslokaal - Digitale aanwerving, pigment prints, glass, 2018 from the series Aanwervingslokaal, pigment print, 2018 from the series Aanwervingslokaal, pigment print, 2018 Exhibition view Tender Buttons, curated by Nadja Quante, Anna Voswinckel, Künstlerhaus Bremen 2019<br />
Aanwervingslokaal, 5 magazines and text on a table<br />
foto: Manuel Meyer Exhibition view Tender Buttons, curated by Nadja Quante, Anna Voswinckel, Künstlerhaus Bremen 2019<br />
Aanwervingslokaal, 5 magazines and text on a table<br />
Exhibition view Tender Buttons, curated by Nadja Quante, Anna Voswinckel, Künstlerhaus Bremen 2019<br />
Aanwervingslokaal, 5 magazines and text on a table<br />
foto: Fred Dott
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The Aanwervingslokaal (recruitment office) is a building in the old harbour area of Antwerp. It was constructed in 1936 on the initiative of the trade unions by the Central organisation of employers in the port of Antwerp (Cepa) in order to regulate job search and recruitment. To this day, the dock workers are still day laborers.

The Aanwervingslokaal was the meeting place between dock workers, casual employees, employers and the trade unions. Workers registered there when seeking work, presented themselves in person to companies, and where selected. This recruitment took less than ten minutes. Just before, dockworkers and employers met at the hall or in nearby cafes, standing around and talking.

On the first of June 2018, the building’s function has been discontinued. In order to save costs and to be able to control job search and recruitment even better, workers have received iPads from Cepa. From now on they get hired and have to register daily via an app.

The work was photographed in the last weeks before the closure of the building. Is shows the waiting (Wachten) and hiring (Aanwerven) of the dockworkers, the party in the bar (Afscheidsparty) on the last day, the empty building (Gebouw), and the workers’s introduction to digital hiring (Digitale aanwerving).

Máj/My

Máj/My, Spector Books, 2018
co-published by Akademie der Künste, Berlin, and Camera Austria, Graz
128 pages, 87 black-and-white photographs, softcover with flaps, 18,5 x 26 cm,
czech/english, typography: Markus Dreßen, Spector Bureau
ISBN 9783959052399, https://spectorbooks.com/book/maj_my

more info

On the Národní Třída (Avenue of the Nation) in Prague stands a department store that opened in 1975. Until the fall of the socialist regime it was called “Máj”: the month of May. Nowadays the fifth month of the year is referred to in Czech as “květen”. “Máj” is an older word that has a romantic quality and is closely associated with a famous poem of the same name by Karel Hynek Mácha written in 1836.
In 1996 the British supermarket chain Tesco purchased the store, renaming it “My” in 2009. If this name is interpreted as an English word, then it refers to an individual. It is surely no coincidence that this English name sounds much the same as the old Czech one. If pronounced, however, according to Czech phonetics, which no one ever does, it sounds quite different. Then it means “we” and refers to a collective.
Since 2017 Tesco has been selling off some of its stores in the Czech Republic because of financial losses. In spring of 2018 the department store “My” was also sold.

Photographed in Prague from November 2015 to June 2018

Dialogues
Dialogues, Camera Austria, Graz, 2016<br />
foto: Markus Krottendorfer Dialogues, laser print, 85 x 107,6 cm Dialogues, laser print, 85 x 107,6 cm Dialogues, laser print, 85 x 107,6 cm Dialogues, laser print, 85 x 107,6 cm Dialogues, laser print, 85 x 107,6 cm Dialogues, Camera Austria, Graz, 2016<br />
foto: Markus Krottendorfer Capital Decor (Colour), yellow-magenta inkjet print, tabel, glas, 1273 x 50 x 75 cm Capital Decor (Colour), yellow-magenta inkjet print, tabel, glas, 1273 x 50 x 75 cm Dialogues, Camera Austria, Graz, 2016<br />
foto: Markus Krottendorfer Dialogues, Camera Austria, Graz, 2016<br />
foto: Markus Krottendorfer Dialogues, laser print, 85 x 107,6 cm Dialogues, laser print, 85 x 107,6 cm Dialogues, laser print, 85 x 107,6 cm
Máj/My
Máj/My, Fotograf Gallery, Prague, 2019<br />
172 x 115 cm<br />
Máj/My, Fotograf Gallery, Prague, 2019<br />
172 x 115 cm<br />
Máj/My, Fotograf Gallery, Prague, 2019<br />
172 x 115 cm<br />
Máj/My, Fotograf Gallery, Prague, 2019<br />
40 x 26,6 cm Máj/My, Fotograf Gallery, Prague, 2019<br />
40 x 26,6 cm Máj/My, Fotograf Gallery, Prague, 2019<br />
40 x 26,6 cm from the series Máj/My, 2015/18<br />
40 x 26,6 cm from the series Máj/My, 2015/18<br />
40 x 26,6 cm from the series Máj/My, 2015/18<br />
40 x 26,6 cm from the series Máj/My, exhibition verschwindet, Galerie Ursula Walter, 2019<br />
laser print, 178 x 118,7 cm<br />
in the background: work by Andreas Schulze<br />
foto: Andreas Schulze<br />
from the series Máj/My, exhibition OPEN / THE KIMONO, with Andreas Schulze, Foyer Dittrichring mit Kunsthalle G2, Leipzig<br />
inkjet prints, 220 x 146,7 cm<br />
foto: Andreas Schulze from the series Máj/My, exhibition OPEN / THE KIMONO, with Andreas Schulze, Foyer Dittrichring mit Kunsthalle G2, Leipzig<br />
inkjet prints, 220 x 146,7 cm<br />
foto: Andreas Schulze Máj/My, exhibition Vis à vis, Fotodoks, Lothringer 13, München, 2019<br />
pigment prints, 40 x 26,6 cm<br />
foto: Markus Krottendorfer Máj/My, Spot Gallery Zabreg, 2019<br />
pages from the book Máj/My, wallpainting Máj/My, Spot Gallery Zabreg, 2019<br />
pages from the book Máj/My, wallpainting Máj/My, Spot Gallery Zabreg, 2019<br />
pages from the book Máj/My, wallpainting<br />
foto: Davor Konjikusic Máj/My, exhibition view Prix de la Découverte, Les Rencontres d'Arles, 2016<br />
Máj/My, 2016 <br />
pigment prints, 100 x 66,7 cm and 45 x 30 cm Máj/My, 2016 <br />
pigment prints, 45 x 30 cm Máj/My, exhibition view Prix de la Découverte, Les Rencontres d'Arles, 2016 Máj/My, 2016 <br />
pigment print, 45 x 60 cm Máj/My, 2016 <br />
pigment print, 45 x 60 cm Máj/My, 2016 <br />
pigment print, 45 x 60 cm
more info

The title ‘Máj/My’ is inspired by the name of a department store in Prague, which was called ‘Máj’ –
Czech for ‘May’ – from the 1970s until the collapse of the communist regime, and which is run under
the name ‘My’ since 2009. Both words are pronounced identically. The phonetic consonance becomes
a marketing strategy: the old name resonates inaudibly in the new one. The spring month as well as
the socialistic May both mutate into the neo-liberal use of ‘My’, the English possessive pronoun of
the first person singular.

FOUR ORANGES SOME OFFICE BUILDINGS, WOMAN’S LEGS
Four Oranges, Some office Buildings, Woman's Legs, Riot Gallery, Ghent, 2015<br />
archival pigment prints, 222 x 150 cm<br />
Four Oranges, Some office Buildings, Woman's Legs, Riot Gallery, Ghent, 2015<br />
archival pigment prints, 155 x 105 cm Four Oranges, Some office Buildings, Woman's Legs, Riot Gallery, Ghent, 2015<br />
archival pigment prints, 29,7 x 21 cm Four Oranges, Some office Buildings, Woman's Legs, Riot Gallery, Ghent, 2015<br />
archival pigment prints, 29,7 x 21 cm
CHOCO CHOCO
Un-Scene III, Wiels, Brussels, 2015<br />
archival pigment prints on glossy paper, 223 x 152 cm<br />
Foto: Sven Laurent Un-Scene III, Wiels, Brussels, 2015<br />
archival pigment prints on glossy paper, 223 x 152 cm Fétichismarchandise, Centre de la photographie Genève, 2015<br />
archival pigment prints on glossy and matte paper, 223 x 152 cm Fétichismarchandise, Centre de la photographie Genève, 2015<br />
archival pigment prints on matte paper, 36 x 24 cm / archival pigment print on glossy paper, 223 x 152 cm Fétichismarchandise, Centre de la photographie Genève, 2015<br />
archival pigment prints on matte paper, 36 x 24 cm<br />
Choco Choco / Capital Decor, Kunstverein im Reuchlinhaus, Pforzheim, 2015<br />
archival pigment prints on glossy paper, 223 x 152 cm Choco Choco / Capital Decor, Kunstverein im Reuchlinhaus, Pforzheim, 2015<br />
archival pigment prints on glossy paper, 223 x 152 cm
GYM
Un-Scene III, Wiels, Brussels, 2015<br />
Foto: Sven Laurent Un-Scene III, Wiels, Brussels, 2015<br />
GYM #1, 2 archival pigment prints on pearl paper, 87 x 60 cm GYM #2, 4 archival pigment prints on pearl paper, 87 x 60 cm GYM #4, 4 archival pigment prints on pearl paper, 87 x 60 cm GYM #3, 4 archival pigment prints on pearl paper, 87 x 60 cm GYM #5, 3 archival pigment prints on pearl paper, 87 x 60 cm GYM, Galerie Weingrüll, Karlsruhe, 2013 GYM, Galerie Weingrüll, Karlsruhe, 2013
Wondelgemse Meersen
Disputed Landscape : The Visual Paradigm, Camera Austria, Graz, 2015<br />
Foto: Lupi Spuma<br />
Hungry / Hungry, Galerie Jochen Hempel, Berlin, 2013<br />
Foto: Andreas Schulze Wondelgemse Meersen. Archiv, 2012/15<br />
12 archival pigment prints, 10 x 15 cm, mounted on cardboard, framed, 65 x 80 cm Wondelgemse Meersen. Archiv, 2012/15<br />
15 archival pigment prints, 10 x 15 cm, mounted on cardboard, framed, 65 x 80 cm Wondelgemse Meersen. Archiv, 2012/15<br />
archival pigment print, 121,95 x 81,3 cm Wondelgemse Meersen. Archiv, 2012/15<br />
15 archival pigment prints, 10 x 15 cm, mounted on cardboard, framed, 65 x 80 cm Wondelgemse Meersen. Archiv, 2012/15<br />
15 archival pigment prints, 10 x 15 cm, mounted on cardboard, framed, 65 x 80 cm Wondelgemse Meersen. Archiv, 2012/15<br />
archival pigment print, 121,95 x 81,3 cm Wondelgemse Meersen. Archiv, 2012/15<br />
archival pigment print, 121,95 x 81,3 cm Wondelgemse Meersen. Archiv, 2012/15<br />
15 archival pigment prints, 10 x 15 cm, mounted on cardboard, framed, 65 x 80 cm Wondelgemse Meersen. Archiv, 2012/15<br />
15 archival pigment prints, 10 x 15 cm, mounted on cardboard, framed, 65 x 80 cm untitled (identity of place), KASK School of Arts, Ghent, 2012<br />
slide projection with 6 projectors untitled (identity of place), KASK School of Arts, Ghent, 2012<br />
slide projection with 6 projectors untitled (identity of place), KASK School of Arts, Ghent, 2012<br />
slide projection with 6 projectors untitled (identity of place), KASK School of Arts, Ghent, 2012<br />
slide projection with 6 projectors
CAPITAL DECOR
Capital Decor, Projektplus, Nádraží Holešovice, Prague (CZ), 2016<br />
24 Xerox prints, 86 x 112 cm, mounted on 24 clynders Capital Decor, Projektplus, Nádraží Holešovice, Prague (CZ), 2016<br />
24 Xerox prints, 86 x 112 cm, mounted on 24 clynders Capital Decor, Projektplus, Nádraží Holešovice, Prague (CZ), 2016<br />
24 Xerox prints, 86 x 112 cm, mounted on 24 clynders Capital Decor, Projektplus, Nádraží Holešovice, Prague (CZ), 2016<br />
24 Xerox prints, 86 x 112 cm, mounted on 24 clynders Lange Nacht der Kultur, billboard, Rathausplatz Pforzheim, 2015<br />
inkjet prints on blueback paper, 250 x 356 cm<br />
Capital Decor, GfzK, Museum of Contemporary Art, Leipzig, 2010<br />
inkjet print on blueback paper, 50 x 1273 cm, tables, glass<br />
soundwork (20:56 min, voice: Christophe Piette)<br />
Capital Decor, GfzK, Museum of Contemporary Art, Leipzig, 2010<br />
inkjet print on blueback paper, 50 x 1273 cm, tables, glass<br />
soundwork (20:56 min, voice: Christophe Piette) Capital Decor, GfzK, Museum of Contemporary Art, Leipzig, 2010<br />
inkjet print on blueback paper, 50 x 1273 cm, tables, glass
SELF KASSA
4 dolle dage / 4 tolle Tage / 4 jours fous, Galerie b2, Leipzig 4 dolle dage / 4 tolle Tage / 4 jours fous, Galerie b2, Leipzig 4 dolle dage / 4 tolle Tage / 4 jours fous, Galerie b2, Leipzig Self Kassa #1, 2010<br />
archival pigment print, glossy paper, 225 x 152 cm Self Kassa #2, 2010<br />
archival pigment print, glossy paper, 225 x 152 cm Self Kassa #3, 2010<br />
archival pigment print, glossy paper, 225 x 152 cm Nintendo, 2010<br />
archival pigment print, matte paper, 204 x 152 cm Air-conditioner, 2010<br />
archival pigment print, matte paper, 204 x 152 cm Bags, 2010<br />
archival pigment print, matte paper, 204 x 152 cm
I Want to Live in the Present Not the Past
I Want to Live in the Present Not the Past, Galerie b2, Leipzig, 2009 I Want to Live in the Present Not the Past, Galerie b2, Leipzig, 2009 VEKTRA, 2009<br />
Lambda print, 170 x 130 cm ZENTRUM, 2009<br />
gelatin silver print, 44,6 x 34,7 cm MAGNETA, 2009<br />
archival pigment print, 111,5 x 83,5 cm HIGHLANDER, 2009<br />
archival pigment print, 111,5 x 83,5 cm MONADE, 2009<br />
archival pigment print, 39,6 x 29,7 cm KLASSIK, 2009<br />
gelatin silver print, 44,6 x 34,7 cm KOMPLEX, 2009<br />
Lambda print, 170 x 130 cm SAGA, 2009<br />
Xerox print, 112 x 84 cm ORION, 2009<br />
Lambda print, 122 x 94 cm M 6071, 2009<br />
laser print, 38,8 x 29 cm
Cornerville
L'Été photographique de Lectoure, Centre de la Photographie de Lectoure, 2008<br />
Xerox prints on MDF, 210 x 280 cm, 150 x 210 cm Close The Gap, Stadtgalerie Kiel 2008<br />
Xerox prints on MDF, 210 x 280 cm, 150 x 210 cm Cornerville, Galerie b2_, Leipzig 2007<br />
Xerox prints, wallpapered, 130 x130 cm, 210 x 280 cm, 164 x 220 cm Cornerville, Galerie b2_, Leipzig 2007<br />
Xerox prints, wallpapered, 164 x 220 cm, 280 x 210 cm