In Het Licht (2011-2012), Susanne Kriemann deals with the disappearance of a specific site: the Art Deco building ‘Het Licht’ (The Light), a former newspaper printing workshop in Ghent.

Die Publikation erscheint anlässlich des "GASAG Kunstpreises 2010" und der Ausstellung 'Susanne Kriemann'.
Susanne Kriemann fächert ihre rechercheorientierten Projekte in Form von Künstlerbüchern und subtilen Installationen auf, die sie für jede Ausstellung neu arrangiert und interpretiert.

In Not Quite Replica: Meteorite (2004/2005), Kriemann delves into the public archive around the Willamette meteorite.

This publication was created as part of the solo exhibitions “Cold Time” at the Kunstverein Braunschweig and “Modelling (Construction School)” at Arnolfini in Bristol.

For ‘One Day’ (2010) Kriemann collected a long list of books about Rotterdam, all of which have been published since its devastating bombing by the Luftwaffe in May 1940.

In the work A Silent Crazy Jungle Under Glass (2011 – 2014) Kriemann combines historical forms of abstraction with aspects of the archive, the latter being a topic that has been crucial for her for a long time.

The Camouflage Museum (short TCM) discusses a situation between the virtual and the existing. It holds neither a permanent location for its displays nor is it fixed to a certain field of subjects. Its architectural structure consists of spaces which have hosted, host and will host The Camouflage Museum for a period of time. The outlines of those spaces will be later used to construct TCM's architectural structure.

Unbekannte Dame in der Strahlenschutzabteilung, Pfütze, tanzendes Paar im Kostüm, Beschädigung einer Mülltonne, Verabschiedung eines Rentners, Bleiabschirmung, ausgebranntes Handschuhfach, Skorpion mit Mikrochip – das sind alles

How do photographers select, order, and display their images? Conceived as part of a long-term project at the CCA to examine the contemporary role of photography in the study and practice of architecture, The Lives of Documents ― Photography as Project prompts reflections on the idea of the documentary as an embedded quality of photography.