The artist(s) will be chosen from a shortlist recommended by a diverse group of advisers (The Sussmann Foundation Committee) who have been selected based on their experience, knowledge, and their commitment to the principles of the Anni and Heinrich Sussmann Foundation. For 2017 we adopted the Award winners of 2015 and 2016.
The Sussmann Foundation Committee 2015-2017 is made up of the following persons:
Aurora Fonda (I, SLO);
Ralf Homann (D);
Ralf Homann is a German artist. In general, his work deals with spatial concepts and with such of the media while also reflecting upon their interdependency. He is interested in activating the public space by means of performative practices. In his works, which are constantly negotiating the boundaries of art and politics, he investigates knowledge – its hidden narrative or invisible design – to engender new perspectives on reality and its representations. Ralf Homann works mostly within and on collaborative or activistic contexts as these constitute the basis of his understanding of the public realm. While operating in various media forms, a strong series of his works focuses on radio. He also applies sound or transmissions to his sculptures thereby folding physical and digital spaces. Ralf Homann likes soldering and drawing. His preference is watercolors.
Ralf Homann was artist-in-residence in the USA at Wave Farm, New York (2009), in Sweden at IASPIS, Stockholm (2006/07), in Austria at Forum Stadtpark, Graz (2003) and in Italy at Villa Romana, Florence (2000). He has also exhibited, lectured and performed in Bulgaria, Canada, England, Finland, France, Luxembourg, the Netherlands, Poland, Portugal and Switzerland.
In 2004, and then again in 2006, Ralf Homann was awarded “Ortstermine – Art in Public Space” by the Munich City Council to perform “Transitwellen” (2004) and “Dangerous Crossings” (2006). In 2002 he acted as a member of the jury for Art on the Net, Machida City Museum of Graphic Arts, Tokyo, and received a City of Weimar Sculptor Studio Grant. As part of the art group “Free Class of Munich” he obtained a New Forms of Expression in Fine Arts Capital City Munich Fellowship in 1997. Ralf Homann is recipient of a 1992 Award of the New York International Radio Festival for his radio coverage of the young radical right wing scene in Dresden, Germany; the program has been broadcasted by Bavarian Public Radio (BR).
Ralf Homann was Professor and Member of the Faculty of Media at Bauhaus-University Weimar from 1999-2007, where he established the new artistic area of “Experimental Radio”. From 1997-1999 he was Assistant Professor of Sculpture at the Academy of Fine Arts in Munich.
Ralf Homann studied Sculpture at the Academy of Fine Arts in Munich. He is currently based in Berlin and is father to a daughter and a son.
Marina Napruschkina (BY, D)
Marina Naprushkina, geboren 1981 in Minsk (Belarus) ist bildende Künstlerin, Aktivistin und Autorin.
Naprushkina studierte Freie Kunst in Karlsruhe und an der Städelschule Frankfurt am Main. 2007 gründete sie das Büro fürAntipropaganda, ein Plattform für künstlerische und aktivistische Auseinandersetzung mit dem Thema der politischen Propaganda.
Naprushkina stellt international aus, hält Vorträge und Workshops.
Im Jahr 2013 gründete Naprushkina die Initiative “Neue Nachbarschaft/Moabit” zur Unterstützung Geflüchteter, 2016 ein Bildungsprojekt im Beriech Kunst “Neue Nachbarschaft/Studio 26” für Menschen mit und ohne Fluchthintergrund.
2015 erschien im Europa Verlag Naprushkinas Buch “Neue Heimat?” mit einem Vorwort von Heribert Prantl.
Born in Jenin in 1976, Khaled Jarrar lives and works in Ramallah, Palestine. Jarrar completed his education in Interior Design at the Palestine Polytechnic University in 1996, and graduated from the International Academy of Art Palestine with a Bachelor in Visual Arts degree in 2011. The following year, his documentary The Infiltrators (2012) won several accolades at the 9th Annual Dubai International Film Festival, and confirmed his importance in global cinema.
Jarrar’s solo exhibitions include Ayyam Gallery Al Quoz, Dubai (2016); Art Bartsch & Cie, Geneva (2015); Galerie Polaris, Paris (2014, 2012); Gallery One, Ramallah (2014); Ayyam Gallery London (2013); Galerie Guy Bartschi, Geneva (2013); and the NEWTOPIA: The State of Human Rights Contemporary Arts in Mechelen and Brussels (2012).
The artist’s recent collective exhibitions were held at venues such as 57th Venice Biennale, Venice, Italy (2017); Institut Du Monde Arabe, Paris, Fance (2017); La Triennale di Milano, Italy (2017); Brentwood Arts Exchange, Maryland, USA (2017); Hinterland Gallery, Vienna (2016); Institut du Monde Arabe, Paris (2016); Aga Khan Museum, Toronto (2016); Palais De La Culture, Constantine (2015); Pirineos Sur Festival (2015); Maraya Art Centre, Sharjah (2015); New Museum, New York City (2014), Kashya Hildebrand Gallery, London (2014), University of Applied Arts, Vienna (2014), USF Contemporary Art Museum, Tampa (2013); The Madrid Palestine Film Festival (2013); 15th Jakarta Biennale (2013); 7th Berlin Biennale (2012); 52nd October Salon, Belgrade (2011); Al-Ma’mal Foundation, Jerusalem (2010); and London Film Festival (2010).
Kristina Norman (EST)
is an Estonian artist and documentary filmmaker based in Tallinn. In her work she often explores the issues of collective memory. Norman has dedicated several years of her life investigating monument cases in Estonia. Videos and mixed media installations Monolith (2007), Community (2008), and After-War (2009) are dealing with the issues of cultural memory, collective identity and belonging that surround the Bronze Soldier monument in Tallinn. A feature length documentary A Monument to Please Everyone (2011) gives an insight into the construction of the Estonian national identity through the process of building the main national monument of Estonia – the Victory Column of the War of Independence 1918-1920. A short documentary We Are Not Alone In the Universe serves as a comment to the monumania that has paralized the common sense of the Estonian society since the country has regained its independence in 1991. In her recent artworks 0.8 Square Metres (2012) and Common Ground (2013) Kristina Norman touches upon the issues of political imprisonment, migration and displacement. Norman holds an MA in visual arts from the Estonian Academy of Arts. She is currently a PhD student and a lecturer at the same institution.
Christan Rathner (A)
Anda Rottenberg (PL)
Exhibitions curator, art historian and critic, educated at the University of Warsaw. Employed in the Polish Academy of Sciences 1973-1986. Founder of the EGIT Art Foundation, 1986; Warsaw Soros Center of Contemporary Art, 1992; Institute of Art Promotion Foundation, 1997. Director of the ‘Zachęta’ National Art Gallery in Warsaw 1993-2001; Visiting consultant in the Museum of Modern Art, New York 2001-2002; President of the Program Advisory board and the Program Director of the Warsaw Museum of Modern Art 2005-2007.
As of 1980 curator and co-curator of numerous Polish and international exhibitions such as: I-st Kwanju Biennale, South Korea; Aspects-Positions 1949-1999, 50 Years of Art in Middle Europe (Vienna-Budapest-Barcelona-Birmingham 2000); L’Autre Moitie de l’Europe (Galerie Nationale du Jeu de Paume 2000/2001, Paris); Where is Abel, Thy Brother (Zachęta Gallery, Warsaw), 1995; Forgetting, Weseburg Museum, Bremen, 2000; Continental Breakfast, Belgrade 2004; Warsaw-Moscow 100 years (Zachęta Gallery, Warsaw/Tretiakowskaya Gallery Moscow) 2004/2005; Side by side. Poland-Germany, 1000 years of history in art (Martin-Gropius-Bau, Berlin) 2011; VOID, Nowy Sącz City, 2012; UNI/JA-UNI-ON, Open Air, City of Lublin, Poland, 2013; Progress and Hygiene (Zachęta National Gallery Warsaw) 2014.
Curator (1993-1995) and commissioner of the Polish Pavilion at the Venice Biennale 1993 – 2001 and the Sao Paolo Biennale 1997 – 2007 Author of the numerous texts on art translated on most of European as well as Japanese and Korean languages; recently published books: Art in Poland 1945 – 2005, 2005; Draught – texts on Polish art of the 80-s, 2009; biographical book Here you are, 2009; Talks with Anda Rottenberg by Dorota Jarecka, 2014.
Academic teacher of curatorial studies (Bard College, NY; Jagiellonian University, Kraków; Warsaw University; Academy of Fine Art, Warsaw); guest master class seminars at the Akademie der Kunste, Munich and Aalto University, Helsinki. Board member of: Manifesta 1 Foundation; Sztuki Museum, Łódź; Museum of Modern Art and National Museum in Warsaw; State Museum Auschwitz-Birkenau; MOCAK Museum Kraków. Member of the selection committee of Documenta 12. Member of AICA, CIMAM, IKT Currently acting as a freelance art writer and curator, personal weekly radio broadcast Andymateria as of 2012. Fellow of the Wissenschaftskolleg zu Berlin 2015/2016
Brigitte van der Sande is an art historian, independent curator and advisor in the Netherlands. In the nineties Van der Sande started a continuing research into the representation of war in art, resulting in exhibitions like Soft Target. War as a Daily, First-Hand Reality in 2005 in Basis Actuele Kunst (BAK) in Utrecht and War Zone Amsterdam (2007–2009), as well as many lectures, workshops and essays on the subject within the Netherlands and abroad. In 2013-2014 she curated See You in The Hague at Stroom Den Haag, and co-curated The Last Image, an online archive on the role of informal media on the public image of death for Funeral Museum Tot Zover in Amsterdam. Van der Sande is currently working on a concept for a festival of non-western science fiction, that will take place in 2016.
Kevin Smith (GB)
Pelin Tan (TUR)
Masha Zusmann (IL)