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Divided We Stand

Henrike Naumann

Henrike Naumann

born 1984 in Zwickau, Germany
lives in Berlin, Germany

In her immersive installations, Henrike Naumann combines video and sound pieces with scenographic spaces. Often she has addressed the German context with these installations, but has also created scenarios which look at cultural cross-pollinations such as, for example, the craze for Japanese fashion houses in the Congolese capital of Kinshasa, amongst the sapeurs, dandy hipsters who are obsessed with brands like Issey Miyake, Yohji Yamamoto and Comme des Garçons. Comme des Kinois (2016) asks whether fashion transports trauma and memory through different cultural contexts, with interviews and a display of the personal photo archive of Willfried Lova Lova, who became a sapeur at the age of 12.
Having grown up in the Eastern German town of Zwickau, in the 1990s, Naumann witnessed the rise of an extreme-right ideology as the predominant youth culture, after the reunification of Germany. Zwickau later turned out to have been the hideout of the Neo-Nazi terrorist group NSU, which in the 2000s committed a series of xenophobic undercover murders. Naumann’s panoramic installation “2000” (2018) shows this development from a surprising angle, looking closely at the way interior design reflect the frustrated desires of a whole generation. Numerous pieces of furniture are placed on a large, grey carpet, for example a living room cabinet of cherry veneer that has the appearance of a tomb, as two funeral wreaths made of fake cowhide lean against it (Altar Mourning German Unity, 2018). The carpet is shaped like the outline of the two formerly separated German states. After reunification, the expected new freedom of liberal democracy often only registered as neo-liberal economy, meaning everyone replaced their old furniture from socialist times with stuff form IKEA, or other brands imitating postmodern Memphis design. But what made one kid turn to techno and ecstasy, and another to become a neo-nazi, or a follower of radical Islamism? Naumann traces these developments using a kind of post-surreal collage style of sounds, images, and objects.
주요 개인전

2018
2000, Museum Abteiberg Mönchengladbach, Germany
2017
Aufbau West, Gold+Beton, Cologne, Germany
2016
Intercouture, Musée d’Art Contemporain et Multimedia, Kinshasa, Democratic Republic of the Congo
Aufbau Ost, Galerie Wedding, Berlin
2013
Generation Loss, Freunde Aktueller Kunst Zwickau

주요 그룹전

2018
steirischer herbst, Graz, Austria
1st Riga Biennale of Contemporary Art, Riga, Latvia
2017
3. Berliner Herbstsalon, Kronprinzenpalais, Berlin
2015
4th Ghetto Biennale, Port-au-Prince, Haiti
2014
Wir sind alle Berliner (we are all Berliners), SAVVY Contemporary, Berlin