memory. culture. art.
Ulrike Kuschel

born 1972 in Berlin
lives and works in Berlin

Education:
1991–1998 Hochschule der Künste, Berlin
1998 Meisterschülerin of Prof. Lothar Baumgarten

Grants:
2007 Grant of Stiftung Kunstfonds
2006 GASAG-Kunstpreis 2006; grant of the Senate Department for Science, Research and Culture, Berlin

Solo Exhibitions (selected):
2008 Heimatgeschichte, Galerie Klosterfelde, Berlin (DE)
2007 Heidelberger Kunstverein Studio, Heidelberg (DE)
Border watchtower Schlesischer Busch, Berlin (DE)
2006 Bildbeschreibungen I, Klosterfelde, Berlin (DE)

Group Exhibitions (selected):
2009 Goethe-Institut Milan (I)
2008 Zeitblick, Ankäufe der Sammlung zeitgenössischer Kunst der Bundesrepublik Deutschland 1998-2008, Martin-Gropius-Bau, Berlin
2007 Reality Bites: Making Avant-Garde Art in Post-Wall Germany,
Mildred Lane Kemper Art Museum, St. Louis (US)
2006 Stips 06–07, Kunstraum Kreuzberg/Bethanien, Berlin (DE)
Von der Abwesenheit des Lagers, Kunsthaus Dresden (DE)
2005 Red Riviera Revisited, The Red House, Sofia (BG)
Schweizer Krankheit + die Sehnsucht nach der Ferne, Kunsthaus
Dresden (DE)
2004 Atomkrieg, Kunsthaus Dresden (DE)
Aus aktuellem Anlass, Galerie Johann König, Berlin (DE)
2003 Gesellschaftsbilder/Images of Society, Kunstmuseum Thun (CH)

Ulrike Kuschel about her work:
In my work, I examine my social and community surroundings, their politics and the historical conditions that shape them. A significant proportion of my exhibition projects deal with the events, or the layers, of German history, especially in the 20th century. In the last ten years the emphasis of my work has shifted from ‘pure’ photography to a more active conceptual aesthetic. Contextual, partly site-specific investigations are combined with forms of documentary photography. Programmatic activities exploring the various potencies of visual and textual documents are expanded and amplified through three-dimensional or acoustic interventions. A key aspect of my work concerns the ever-shifting relationship between text and image. This unveils a subjective, selective interpretation of documentary work.