"With a background in scenography, she found visual metaphors for our socio-political reality in the everyday furniture and design objects that articulate our interiors and our lives. A formative event in development of Naumann's conceptual approach was the discovery, in 2011, that the National Socialist Underground-a collective of white supremacists later charged with targeting Turkish, Greek, and Kurdish immigrants-had been operating a secret hideout in Naumann's hometown of Zwickau."
"Naummann had developed these aims over 15 years, and her work has been shown at a long list of prestigious venues, including Documenta 15 in Kassel, Gropius Bau in Berlin, Haus der Kunst in Munich, Schirn Kunsthalle in Frankfurt, the 2018 Busan Biennale, Belvedere 21 in Vienna, Pinchuk Art Center in Kyiv, and the SculptureCenter in New York. Her inclusion in the 61st Venice Biennale was set to be the crowning achievement of her career."
Henrike Naumann died on February 14 at age 41 of cancer. She had been preparing to represent Germany at the 61st Venice Biennale alongside artist Sung Tieu and curator Kathleen Reinhardt. Born in former East Germany, she used installation art and scenography to examine the country's history, its influence on contemporary geopolitical tensions, and the rise of far-right populism. A formative moment was the 2011 discovery that the National Socialist Underground had operated a secret hideout in her hometown of Zwickau. That revelation prompted her to use domestic interiors and everyday furniture as metaphors for socio-political realities and conditions that enabled extremism. Her work appeared at Documenta 15, Gropius Bau, Haus der Kunst, Schirn Kunsthalle, the Busan Biennale, Belvedere 21, Pinchuk Art Center, and SculptureCenter in New York.
Read at Artnet News
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