Susanne Tunn

Susanne Tunn (* 1958 in Detmold ) is a German sculptor . She lives and works in Wittmannsdorf in Brandenburg.

Live and act

From 1980 to 1986 she completed an interdisciplinary degree in art, sociology and education at Bielefeld University . In 1991 she received a studio grant from the State of Lower Saxony, in 1995 a project grant from the Heitland Foundation and a work grant from the State of Lower Saxony. Since 1992 she has been a professor at the International Summer Academy for Fine Arts in Salzburg .

From 1991 to 2014 she had her studio in the station building of Alfhausen .

Susanne Tunn's preferred material is stone from quarries or other formations or found objects, e.g. B. road stones, architectural fragments, but also stone in the form of dust. But she also worked with other materials at an early age, such as wood ( In the interior of the tree, 1988 ; Kapelle im Klinikum Minden, 2004–2008 ), concrete ( Peace and Noise, 1998 , Loh, 2000, or when working with Sonic for Sonsbeek 9), paraffin and wool, coal briquette ( Atem / Meta, 2004 ), plants ( Kiemen, 1998 , Tisch des Berges, 1999 ) or with the metal tin (AD, 28 m² tin; work on Colossal, 2009–2011 ). There are also sculptural investigations using other media (video and film works, photography and drawings).

One of the main features of her work is the consideration of the context in which the respective material stands and its historicity. The artistic process changes over time. Early works show a more drastic approach to the object. She splits stone and joins it back together so that invisible interiors are created (similarly she works with wood when working inside the tree ). She is increasingly developing a more cautious approach. She discovers that the stone to be worked already has a form, a system, an internal logic. It's about the fragile relationship between the form that the artist creates and the form that the stone has. This dialectical connection becomes particularly clear in the sculpture Rotation , which is at the same time a form at rest and a rotation created by working around the stone.

An aspect that is essential from the start is the situation-relatedness of your work. The place where and for which the work is made is important. The type of stone (e.g. Salzburg conglomerate, granite or shell limestone), i.e. the geology, is important. The location-relatedness means that it is not so much the interior of the studio or exhibition that the actual places for the sculptures and work on them are, but rather exterior spaces. Susanne Tunn's works are precisely placed, sometimes in remote places that are barely accessible to the observer (e.g. the table of the sea). They are exposed to the influence of nature and are therefore not eternal objects. They were created before the artistic process, are changed by art and sometimes also disappear again. Ultimately, the concept of sculpture is questioned and contextualized: Sculptures are completed and unfinished objects at the same time, they are at the mercy of a large context of becoming and passing away, which the artist changes through a limited, formative intervention.

As the mostly large-format objects often show elementary and everyday forms such as tables, tables or beds that have been modified and specified, social and historical contexts are also invoked, which Susanne Tunn occasionally explores further in other media such as photo, video or film works. In this way, the concept of sculpture is also opened up to socio-historical contexts (as in the work Atem , an installation on the roof of the Villa Schlikker in Osnabrück, a building formerly used by the National Socialists, or in the installation 166 beds - Peace and Noise ).

Some basic, understanding perspectives on the work can be derived from minimalism , conceptual art and arte povera . But Susanne Tunn's artistic work ultimately springs from an ongoing impulse to develop the stubbornness of artistic expressions. Her publications about her own works are extremely carefully designed and can be understood as literary extensions of the sculptural work.

Awards

In 1998 she received the art prize for the 350th anniversary of the Peace of Westphalia .

Projects / sculptures and permanent installations

1988–1989: Inside the tree. Minden to Mandö. Germany to Denmark
1988: Situation of a group, Herford
1989: Start of the "5 tables" project. Table of thought, Minden
1990: Waiting stone, Herford
1992: Table of the Desert, Sierra de los Filabres, Spain
1995: Table of the Sea, Skagerrak, Sweden
1996: Pol-Stein, sculptural setting in the outdoor area of the Energy Forum Innovation by Frank Gehry , Bad Oeynhausen
1997: Primary stones, historical orchard of the State Agricultural School, Kleßheim Palace, Salzburg
1998: Gills, sculptural extension of the outside area, Energy Forum Innovation by Frank O. Gehry, Bad Oeynhausen
Puls, Stadt-Art, art in 56 homeopathic doses, Kultursekretariat NRW Gütersloh, Grevenbroich
166 beds - Peace and Noise, space and sound installation. Realization for the art prize on the occasion of the 350th anniversary of the Peace of Westphalia, Hagen aTW
1999: Tisch des Berges, Alvier, Switzerland
2000: Loh, sculpture for 3 rooms - 3 rivers, Hannoversch Münden
2001: Sonic, sculpture for Sonsbeek 9, locus focus, artistic direction: Jan Hoet , Arnheim, Netherlands
2001: MARTa Collection, MARTa Herford, "Uppgift" 1995
2004: Breath - Meta. Felix-Nussbaum-Haus / Museum of Cultural History , installation on the roof of Villa Schlikker and in the Anette Röhr Gallery, Osnabrück
2005: Table for two couples and a dog, Freck / Avrig, Romania
2004–2008: Sculptural construction of the chapel in the Johannes Wesling Clinic Minden
2011: Rotation, Stalaker Quarry, Norway

Solo exhibitions

1994: ... a few stones in the sun, Siegerland Museum, Siegen
1996: Tisch des Meeres, Galerie pro arte, Hallein
1999: The Congo Syndrome, Galerie im Traklhaus, Salzburg
2003: A collector's cabinet, installation in the Kunst- und Wunderkammer, Salzburg Cathedral, Salzburg
2006: Pearls made of stone, Alf Lechner Museum Ingolstadt
2006: Galerie Röhr and Ripken, Berlin (together with Nan Hoover ), September 30, 2006 - December 2, 2006
2009: the more, art space pro arte, Hallein

Participation in exhibitions

2000: You were inscribed in the water. Exhibition on the project 3 rooms - 3 rivers. Packhof Hannoversch Münden
2001: Present. Museum of Contemporary Art, Arnhem, Netherlands
2002: Aquaria. About the extraordinary relationship between water and humans. State gallery at the Upper Austrian State Museum Linz and art collections in Chemnitz
Interplay. The Hafnarfjördur Institute of Culture and Fine Art, Hafnarborg, Iceland
2005: (my private) Heroes. Museum MARTa Herford
2007: Osnabrück Sculpture Landscape (Silberwald, together with David Svoboda)
2007: Marta is silent. Museum MARTa Herford
2009–2011: Colossal - Art fact fiction. Exhibition in public space on the occasion of 2000 years of the Varus Battle (sculptures The Key and AD)
2009: Place of Memory - Place of Vision. Museo di Roma in Trastevere and Galleria Ugo Ferranti, Rome
2015: "concrete more space". Kunsthalle Dominikanerkirche Osnabrück (floating grid)

Rotation, 2012
AD, tin bulk, 2009–2011
Minden Clinic Chapel, interior, 2008
Nightshade, 2007
atem meta, brown coal briquettes, 2004, installation on the roof of Villa Schlikker
A collector's cabinet, 2003
Loh, sculpture, 2000, Hann. Münden
Table of the Mountain, 1999
Pol-Stein, 1996
Situation of a group, 1988
Waiting stone (stone), 1990
Waiting stone (steel), 1990

Publications

Inside the tree, 1990, German / English, texts a. a. by Ursula Blanchebarbe and Volker Rodekamp , awarded by the Book Art Foundation
Tisch des Denkens, 1991, text by Ursula Blanchebarbe
Table of the desert, 1992, German / Spanish, text by Barbara Wally
Tisch des Meeres, 1996, German / English, texts by Dorothee von Windheim and Susanne Tunn
166 beds - Peace and Noise, 1998, German / English, texts a. a. by Jan Hoet, Nancy Spero, Leon Golub and Susanne Tunn
The Congo Syndrome, 1999, German / English, with a conversation between Barbara Wally and Susanne Tunn
Tisch des Berg, 2001, German / English, poem and text by Ilma Rakusa and Susanne Tunn
Atem - Meta, 2004, German / English, with a text by Philippe van Cauteren and photographs by Christian Grovermann, Osnabrück
Table for two couples and a dog, 2005, German / English / Romanian, with a text by Liviana Dan
Kapelle (Chapel) 2004–2008, Kirchberg (Austria) 2008, 27 color illustrations, photos by Peter Hübbe, texts by Jan Hoet and Jörg Mertin

literature

Stadt (t) -art NRW, 1997, art in 56 homeopathic doses, text by Peter Schmieder
3 rooms - 3 rivers, you were inscribed in the water, 2001, volume 2
Sonsbeek 9, Lokus - Focus, 2001, Volume 1 and 2, English / Dutch, text and interview by Dieter Roelstraete
Aquaria. About the extraordinary relationship between water and people, Linz 2002
20 Years Stone Carving Symposium, 2007, 208 pages, German / English, International Summer Academy Salzburg
Colossal, 2009, 286 pages, German / English, texts a. a. by Jan Hoet, Stefan Lüddemann and Michael Kröger
Hellwach Present - Outlook on the MARTa Collection, 2009, 156 pages, German / English

Web links

Individual evidence

↑ Dr. Stefan Lüddemann: Susanne Tunn leaves the old station in Alfhausen. In: noz.de. Neue Osnabrücker Zeitung , August 9, 2014, accessed on July 8, 2020 .

personal data
SURNAME	Well, Susanne
BRIEF DESCRIPTION	German sculptor
DATE OF BIRTH	1958
PLACE OF BIRTH	Detmold

[1] Dr. Stefan Lüddemann: Susanne Tunn leaves the old station in Alfhausen. In: noz.de. Neue Osnabrücker Zeitung , August 9, 2014, accessed on July 8, 2020 .