German Pavilion at the Biennale di Venezia

The German Pavilion at the Biennale di Venezia has shown the works of artists such as Gerhard Richter, Joseph Beuys, Hanne Darboven, Bernd and Hilla Becher, Katharina Fritsch, Rosemarie Trockel, Martin Kippenberger, Candida Höfer, Tino Sehgal, Isa Genzken, Ai Weiwei and Hito Steyerl.

The contribution of the German Pavilion has already been awarded the Golden Lion seven times, among these four times as the best national contribution: In 1984 Lothar Baumgarten (Commissioner Johannes Cladders), in 1986 Sigmar Polke (Commissioner Dierk Stemmler), in 1990 Bernd and Hilla Becher, in 1993 Hans Haacke / Nam June Paik (Commissioner Klaus Bußmann; best national contribution). In 2001 Gregor Schneider (Commissioner Udo Kittelmann; best national contribution), in 2011 Christoph Schlingensief (curator Susanne Gaensheimer; best national contribution) and in 2017 Anne Imhof (curator Susanne Pfeffer; best national contribution).

The German Pavilion 2022


Website Deutscher Pavillon 2022 now online!

'Over the course of the preparations, the website will offer insights into the exhibition’s artistic research process by means of ongoing image and text additions and updates. As curator of the German Pavilion, I consider reflection on the overall context indispensable and therefore attached special importance to documenting the history of the site with a chronology.
Scarcely an exhibition context is as charged and overlaid with meaning as the national contributions to a biennial. National representation and cultural attributions—the dangers of every national pavilion—are not infrequently associated with conflicts. That is particularly true of the German Pavilion in Venice.'
– Yilmaz Dziewior

See website Deutscher Pavillon 2022


Dr. Yilmaz Dziewior is curator of the German contribution to the 59th Biennale di Venezia 2022. Dziewior has been Director of the Museum Ludwig in Cologne since 2015. He was Director of the Kunstverein Hamburg from 2001-2008 and Director of the Kunsthaus Bregenz from 2009-2015 and has worked as a freelance curator on a number of art projects.

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The German Pavilion 2019

Natascha Süder Happelmann

How can community beyond totalitarian unity and uniformity be thought of? The curator Franciska Zólyom takes up a position for the reflection on such questions that activates aesthetic research in concrete social contexts, yet not only analyses or comments on social, ecological or political conditions, but also seeks to shape these. She has selected the artist Natascha Sadr Haghighian, who plays with and questions identities, and for the purposes of the German contribution calls herself Natascha Süder Happelmann. Natascha Süder Happelmann unfolds the poetic, imaginary and critical potential of art and encounters attempts to interpret it hastily with an amiable multiformity. Her work is articulated in text, image, space and sound. Her voice is full of advocacy when she raises an objection. In her art, she creates a strong presence in order to take a back seat in acting and speaking with others as an amplifier. She works chiefly with installations and performatively. She addresses the collective and transdisciplinary aspect of artistic work through collective processes. For example, six musicians of different musical traditions and styles created contributions on the whistle for the sound installation 'tribute to whistle'. The rhythms and sounds can be heard in constantly shifting, ever-changing overlapping constellations. Three videos by Natascha Süder Happelmann mark the stages on the way to a transit camp. They bear witness to places such as transit camps in Bavaria and link them with tomato plantations in Apulia and the rescue ship Iuventa, which is stuck in the customs port of Trapani.

The German Pavilion 2019


The art historian Franciska Zólyom has been the director of the Leipzig Gallery for Contemporary Art since 2012. From 1997 to 1999 she was curator at the Museum Ludwig Budapest. After a scholarship at the Hamburger Bahnhof – Museum for Contemporary Art in Berlin, she headed the Institute of Contemporary Art in Dunaújváros.


Natascha Süder Happelmann (born in Budapest, 1987, or Sachsenheim, 1968, or Australia, 1979, or Munich, 1979, or Tehran, 1967, or London, 1966, or Iran, 1953) is an artist who lives and works in Berlin, or Kassel, or Gütersloh, all in Germany, or Santa Monica, California, USA, or the Cotswolds, Great Britain.
Natascha Süder Happelmann’s work investigates how the world is made, and the biopolitical and geopolitical interactions and entanglements that underlie it. She reassesses the conditions and spaces for artistic action and activates aesthetic research in political and social contexts.
The artist creates works in the fields of installation, performance, text, and sound. She repeatedly allows her practice to flow into collective processes, and addresses the collective and transdisciplinary aspect of artistic work.
Rather than providing further biographical information, the artist refers to her platform This online exchange platform, which has existed since 2004, enables artists and other cultural workers to exchange CVs or compile them from existing data.

The German Pavilion 2017

Anne Imhof

Gazes cross, but no communication ensues. They perceive others, but there is no recognition, no acknowledgment. Post-gender, individualized, peculiar and yet stereotypical: such are the human figures in Anne Imhof’s paintings and scenarios. Noises, sounds, and compositions lend a rhythm to the spaces and bodies, synchronizing them in a dilated time loosely structured by narratives. The spaces limned by bodies and sounds and the architectural space overlap, interpenetrating until a brief instant of congruence is reached, only to break apart moments later. Imhof envisions the pavilion as a body whose contours can be displaced. The action is contingent; everything might be different at any moment. The purport of the movements is at odds with their form, revealing their rehearsed character. They fluctuate between the viscous mundanity of everyday life and mysterious rituals, between schematic, remote-controlled procedures and individual malfunctions, between uniformity and punk. Aligned with the group, an aimless individuality persists. They may sing together, but their song is of the I. The bodies in Anne Imhof’s pieces are subjects locked in an everlasting struggle against their objectification—ruled by capital, they yet defy their unremitting optimization. Strained to the point of bursting or gone limp, these regimented and fragile bodies appear as a material molded by pervasive yet invisible structures of power. At the same time, media representation is innate to these bio- techno bodies: they seem forever on the verge of transformation into pictures ready for consumption; they aspire to become images, digital commodities. Anne Imhof confronts the brutality of our time with a hard realism. Her scenarios visualize the constitution of the body in the demarcation of material and discursive, of technological, socioeconomic, and pharmaceutical boundaries. Imhof thus reveals the space between body and reality, the space where our personality comes into being.

The German Pavilion 2017


Susanne Pfeffer (b. 1973) is an art historian and curator. At the Fridericianum in Kassel, which she has directed since June 2013, she has curated exhibitions including Inhuman (2015), nature after nature (2014), and Speculations on Anonymous Materials  2013) as well as retrospectives of the art of Tetsumi Kudo (2016), Marcel Broodthaers (2015), and Paul Sharits (2014). She curated the Swiss pavilion at the 56th International Art Exhibition—La Biennale di Venezia, presenting a solo exhibition of the work of Pamela Rosenkranz. She was previously chief curator of the KW Institute for Contemporary Art in Berlin (2007–2012) and a curator and consultant at MoMA PS1 in New York. From 2004 until 2006, she was artistic director of Künstlerhaus Bremen.

Curator: Susanne Pfeffer © Uwe Zucchi
Anne Imhof © Nadine Fraczkowski


Anne Imhof (b. 1978) graduated from the Städelschule in Frankfurt am Main in 2012. Imhof was awarded the Preis der Nationalgalerie in 2015 and went on to produce the opera Angst, which was presented in three acts at Kunsthalle Basel, the Museum Hamburger Bahnhof in Berlin, and the Biennale de Montréal in 2016. Her performance cycles Deal, Rage, Aqua Leo, and School of the Seven Bells were shown in solo exhibitions at MoMA PS1, New York, the Carré d’Art—Musée d’art contemporain de Nîmes, New Jerseyy, Basel, Portikus, Frankfurt am Main and elsewhere. Her art has also been featured in international group exhibitions, including at the Palais de Tokyo, the Centre Pompidou and the Museum für Moderne Kunst, Frankfurt am Main. Anne Imhof was a visiting professor at the Academy of Fine Arts Munich in 2015.


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