Die Ausstellung "Architecture as Metaphor" fand im März/April 2017 in London in der Griffin Galerie statt. Sie wurde von dem Künstler Steve Johnson und Becca Pelly-Fry kuratiert. Folgende Künstler waren in der Ausstellung zu sehen:

Maurizio Anzeri, Jemma Appleby, Phyllida Barlow, Tony Bevan, Owen Bullett, Jemima Burrill, Tony Carter, Michael Craig-Martin, Richard Deacon & Mrdjan Bajic, Arturo Di Stefano, Lucy Gunning, Ulrich Jansen, Alzbeta Jaresova, Steve Johnson, Evy Jokhova, Dirk Lebahn, Peter Newell Price, Miyuki Okuyama, Fabian Peake,  Martin Pfahler, Ray Richardson, Stephen Robson, Susanne Rosin, Dieter Roth, Wolfgang Schlegel, Heidi Sill, Terry Smith, Gary Stevens, Rob Voerman, Prue Waller, Richard Wentworth, Rachel Whiteread

Mein Filmprojekt "Stadtwesen" war passender Weise in der "Kaffeeecke'" der Galerie zu sehen.

Zu diesem Zeitpunkt habe ich die ersten drei Teile hintereinander gezeigt.

 

 

Presse, article in studio international

"Architecture as Metaphor

A mix of sculpture, tapestry, film, photography, painting and collage by 33 artists whose work refers to, or manipulates, the built environment, this exhibition heightens awareness of one’s own physical presence and the intensity – and complexity of our relationship to the material and spatial world around us.

Griffin Gallery, London
9 March – 21 April 2017
by VERONICA SIMPSON

..... Susanne Rosin’s stopmotion animation is a masterpiece of observation. She also works as a scenic painter for film and theatre, which might explain her intense attachment to the opposite sort of space: the most mundane areas of shared transit and nondwelling that are vital to, but completely uncelebrated in, our lives, such as doctors’ waiting rooms, ordinary high streets, airport lobbies, suburban shopping malls and public toilets. These she painstakingly recreates using digital photographs to conjure hyperreal versions of flooring, walls and ceilings, but she underscores their fakeness by creating soundtracks with the cheapest kind of muzak she can find online, along with recordings of the appropriate ambient sound: chatter and hum, traffic and sirens. Instead of filling these scenes with pretend people, she uses shopping bags or luggage trolleys, which trundle and ponder as they move through these spaces, representing all the necessary diversity by the style and branding of each carefully reproduced bag or luggage trolley. She says: “I describe the situations using cheap materials and I make it very cheaply. I want it to struggle. For me, it’s really important you realise how it’s done.” Rather than seeming drab, these films are endearing, funny, poignant and acutely observed – there is a delicious perversity to seeing familiar but unlovely places celebrated in this way. ...."